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representing eddie izzard quotes in hand-drawn typography. for a dvd booklet as part of a box set i designed for my college final major project
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
n 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum
www.emergencyrooms.org ( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
The KOM League
Flash Report
for
1/13/2022
To access this report go to www.flickr.com/photos/60428361@N07/51818811054/
The photo of the mom and pop cardinals was taken with a certain person in mind. Before it could be shared the news arrived of that person’s passing. He is the third story in this report.
In this report there is recognition of two fellows who played in the KOM league, who have expired and another fellow who lived with the memory of it by hearing about it from his elders. He was only seven years old when the team representing his hometown was the first charter member of the league to fold its tent.
In order of death these are the KOM leaguers recently documented as passing away. There was only one contact with Jerry Obringer. He had started the 1952 season with the Miami, Oklahoma Eagles. The second death was that of Pete Maropis of the 1948-49 Bartlesville Pirates who I got to know very well over the years at KOM league reunions and in other situations.
With regard to anyone or anything mentioned in this report there is more information available. My New Year’s resolution is to attempt to cut down on verbosity.
____________________________________________________________________________
Jerry Obringer
Jerome "Jerry" J. Obringer, 89, of Fort Recovery, Ohio, passed away on Tuesday, June 1, 2021, at I.U. Health in Muncie, Indiana.
He was born on July 18, 1931, in Sharpsburg, to the late John and Theresa (Hemmelgarn) Obringer.
Jerry is survived by his wife of 63 years, Carolyn (King) Obringer, whom he married on June 29, 1957; his children, Dan (Cindy) Obringer of Minster, Mark (Annette) Obringer of Centerville, Paul (Mindy Flegle) Obringer of Bowling Green, Anne (Phil) Thobe of Maria Stein, Jane (Vaughn) Hipple of Coldwater, and Sarah (Doug) Jansen of St. Henry; his son-in-law, Dave Rudemiller of Cincinnati; his Finnish daughter, Kaija Parvianen; his grandchildren, Nick (Trish) Rudemiller, Elyse (Kyle) Sutton, Matthew Obringer, Randy (Kelly) Obringer, Doug Obringer, Rachel (Jesse) Maag, Ashley Obringer, Bethany (Brian) Livingston, Nathan Thobe, Michelle (Brent) Westheide, Dylan Thobe, Ryan Thobe, Elizabeth (Jacob) Schwieterman, Megan Hipple, Amanda Hipple, Laura Hipple, Theresa Hipple, James (Whitney) Jansen, Rose (Chase) Bruggeman, Isabelle Jansen, John Jansen, Grace Jansen, and Peter Jansen; his great grandchildren, Cayden and Clark Maag, Alec, Aria, and Corbin Livingston, and Nova and Eleonor Westerheide; his siblings, Dorothy Denney of Memphis, Tennessee, Ralph (Charlene) Obringer of Coldwater, and Carl (Mary) Obringer of Fort Recovery; and his in-laws, Jim King of Celina, Ruth King of Centerville, Ron (Connie) King of Decatur, Alabama, and Dennis (Carrie) King of Chattanooga, Tennessee.
In addition to his parents, Jerry was preceded in death by his children, Jim Obringer and Mary Rudemiller; his infant brother, Joseph Obringer; his siblings, Alvira (Harold) Kaiser, Rosemary (Victor) Metzger, Sr. Casilda Obringer, Werner (Joan) Obringer, Edward (Dorothy) Obringer; his brother-in-law, Wilson Denney; and his in-laws, Jackie King, and Janet (Jim) Price.
Jerry was a 1950 graduate of Fort Recovery High School. He spent several years serving his country honorably in the United States Army during the Korean War. Jerry was a member of the VFW, where he was Quartermaster for over 45 years, the Fort Recovery American Legion, Fort Recovery Knights of Columbus, and the National Farmers Organization. Jerry was an active member of St. Peter Catholic Church, where he served on parish council and various other church activities. He was also a part of the St. Anthony Dinner Theater for over 11 years.
Jerry loved baseball and was an outstanding pitcher. He played for the Philadelphia Phillies and in the Semi Pro Western Ohio League. In 2008, he was inducted into the Fort Recovery Hall of Fame. Locally, Jerry coached little league, Legion ball, and the Pony League Champions. His love for baseball resulted in Jerry having an extensive baseball card collection. He loved going camping with his family, playing cards, and telling jokes to all those who would listen. Overall, Jerry was a simple man with a gentle spirit that gave everyone a chance, whether on the field or off.
A Mass of Christian Burial will take place at 10:30 AM on Saturday, June 5, 2021, at St. Peter Catholic Church, 1477 Philothea Road, Fort Recovery, Ohio 45836. Burial, with full military honors, will follow in the church cemetery.
Guests may visit with Jerry's family on Friday, June 4, 2021, from 3:00 PM until 7:00 PM at Brockman & Boeckman Funeral Home, Fort Recovery. An American Legion prayer service will begin at 6:45 PM, followed by a Knights of Columbus prayer service. The visitation will continue on Saturday from 8:30 AM until 9:45 AM at the funeral home.
In lieu of flowers, memorial contributions may be given to Yakote Women Farmers, Attn: David Stone, 1110 SE Flavel St., Portland, OR, 97202 or online at www.yakotewomenfarmers.org. This organization provides funds for students in Ghana, which Jerry's daughter, Mary, spent many years helping.
Online condolences may be shared with the family at www.brockmanboeckmanfh.com.
_____________________________________________________________________________
Pete Maropis—Bartlesville Pirate 1948-49
Pete Maropis, 96, passed away peacefully in his Burgettstown home on December 16, 2021, with his loving wife and best friend for the past 69 years, Marguerite, at his side. Pete was the son of Speros and Argero Maropis who migrated to the U.S. in the early 19th century from the island of Crete, Greece. Pete was born in Langeloth, PA, on September 27, 1925. He was a graduate of Union High School, Class of 1943, distinguishing himself academically as well as in athletics. Following graduation, he enlisted in the US Coast Guard and served as a radioman aboard search and rescue seaplanes in the Pacific until the end of WW2. After receiving an honorable discharge, he was offered football scholarships to the University of Georgia and St. Mary’s College in California. He declined those offers and chose instead to attend Alliance College in Cambridge Springs, PA along with several high school teammates. At Alliance, he excelled in football, basketball, and baseball, eventually signing a professional baseball contract with the Pittsburgh Pirates. Starting in Class B, Davenport, Iowa, and in spite of the two and a half years he spent in the military, he advanced to the Pirates’ Class AA affiliate in New Orleans, LA. At that time, and due to his age, he decided he needed stability in his life and married his hometown sweetheart, Marguerite Martinez on August 11, 1952.
Following his professional baseball career, Pete accepted a position with an athletic equipment reconditioning company, Ivory Systems, which became All-American Medalist, and is now Riddell Sports. In a short time, Pete advanced to regional manager, a position that lasted until his retirement.
Pete was predeceased by his parents, his son, Pete, and four brothers: Angelo, Chris, Nick, and George. He is survived by sons Mike (Debbie) and Patrick(David Butler) and daughter-in-law Kathy, grandchildren Pete, Matthew (Kayla), Michal Jane (Joseph) Newman and Derek (Brooke), and great-granddaughter Mia. Surviving, in addition to immediate family members, is a sister, Freida Sprando, a brother, Petro (Despina), and many loving nieces, nephews, cousins, and close friends. May his memory be eternal and his soul rests in eternal peace.
Visitation for Pete will be on Wednesday, December 22, 2021, from 2 pm to 6 pm, 6 pm time of service at Young Funeral Home & Cremation Services Inc. 23 Erie Mine Road, Burgettstown, PA 15021 (724) 947-2049 www.youngfhinc.com
Interment will be at a later date.
In lieu of flowers donations for Pete can be made to join.pcf.org/memorials/memorial/in-memory-of-pete-maropis
Special note:
By accessing this site there is a story about Pete Maropis shared in the June 12, 2020 edition of this oft ignored Internet report.
www.flickr.com/photos/60428361@N07/49998535037/
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Rolen Dale “Casey” Casebolt
Since 1996 there has been one constant when anything was shared publicly about the KOM league, Casey Casebolt was going to respond and in an enthusiast and positive manner. It all began at the Red Bridge Library in Johnson County. Kansas in 1996. A presentation regarding a program concerning the old KOM league was announced by the Kansas City Star and KMBZ sportscaster, Don Fortune.
A huge crowd was not expected for that event and thus all expectations were met, in that regard. However, it was a memorable event as some attendees asked about certain former members of the KOM league. One young man arose and asked if I ever heard of Herbert Hoover Davis of the 1950 Independence, Kansas Yankees. The reply was “It is regrettable that to the best of my knowledge he is deceased.” Another hand shot up and asked “Whatever happened to Sam Dixon?” To the latter question the answer was “He played for Carthage, Chanute and Iola and is now living in Lawrence, Kansas.” Of course, the fellow asking about Dixon knew the answer but was testing the speaker’s knowledge or lack of same.
Following the close of the formal presentation the young man who inquired about Herbert Hoover Davis asked me to hang around for a couple of minutes. Shortly thereafter he came out of an adjoining room with a very tall distinguished gentleman. He uttered this never to be forgotten phrase “Mr. Hall I want you to meet my late father, Herbert Hoover Davis.” It was great being at that resurrection service. That happened a couple of other times in the history of researching the “life and times” of former KOM leaguers and those were great lessons in not taking hearsay about the mortality of man. From then on the policy no one was declared dead without some type of official document.
Time passed swiftly from that autumn afternoon at the library, in 1996, until Monday morning January 11, 2022. Turning to the email this message was number one in line from Don Papst, a native of Chanute, Kansas. “John I was so shocked and saddened to hear of the passing of my great friend Casey yesterday. Please pray for the repose of his soul and comfort for his family. I hope you and Noel are doing well. Thanks.”
Following the demise of the KOM league, a former catcher in that league, Sam Dixon, stayed in Chanute where he worked for the Santa Fe railroad and later sold insurance. He became the coach of the the American Legion team in Chanute and in addition to coaching both Papst and Casebolt the team had a pretty good pitcher by the first name of Paul. His last name is recognizable by many of the middle age to older baseball fans for the name that finished out the full name was Lindblad.
Paul Lindblad Obituary (1941 - 2006) - Arlington, TX - Star-Telegram (legacy.com)
A few years ago Casebolt was wondering how a deserving person could be inducted into the Kansas Baseball Hall of Fame. Like most things this old guy has an opinion but not much of anything else. Providing a couple of names to Casebolt he was encouraged to take on the project of getting Lindblad inducted which he did in a short time.
If a frequent writer were to be selected, to the Flash Report department, Casebolt would head the list.. The following message was repeated time and again, over the years, in one form or another. “Just enjoyed sitting and listening with my usual great interest the broadcast version of the KOM story in the latest FR. Wonderful as usual!!! John let me say here and now what I have intended to say for many years since meeting you that Saturday afternoon at the Red Bridge Library in KC, Mo. There is definitely a special place for you on this Earth and a special reason you were placed here. And eventually there will be an even bigger and more deserved place in that great and wonderful place above. God Bless You for all you have done and continue to do. Don't quit us now my man!! And on a personal issue, thanks from reconnecting me with Coach Sam (Dixon)!!!” Casey Casebolt-Shawnee Mission, Kansas.
In an October 2018 edition of the Flash Report it was mentioned that it was about time to shut down the production of these reports. However, a pensive note, from Casebolt, was the impetus to keep it going a while longer.
In the last report www.flickr.com/photos/60428361@N07/51733797453/ the mention of a couple of former ballplayers from Bevier, Mo. was cited. There was some “fluff” added by Yours truly which was never meant to be of much significance to anyone. However, Casebolt had this comment about that to prove he read most every word of these reports.
“Hi John: Nothing earth-shattering about my bit of trivia re Bevier but sure jogged the old cranium memory cells. Back in late 90's, for a couple of seasons, a number of us who were members of the KC Gorilla Club, would rent a 12 passenger van and head to distant games. One place we decided to do so was to Truman State in Kirksville. So 10 of us took off on a Sat. morn and headed to the game for a 2 pm kickoff, leaving a bit of pre-game time for "libations". We went up I-35 to US 36 and headed east for Macon (Mo), where we would turn north. I can’t remember exactly how we spotted the place, but someone saw what obviously was a very busy restaurant in a large, old 2 story building just south of 36, so we decided to drive over and check it out. I can honestly say I was never so shocked in my life John. Folks were packed in there for lunch. Table were each covered with white linen table covers. The drink glasses appeared to be some type of crystal. Chandeliers all over the high-ceiling room. Just absolutely magnificent----nothing anyone would ever expect. And the highlight was a gentleman dressed in TUXEDO greeting and seating all guests. Servers appeared to be all high school/college students most likely. All dressed in their best also. I cant ‘remember all of he story nor the name of the place. But the menu was very nice and probably a bit high price for Bevier, Mo. But the guy in tux turned out to be the owner, along with his son They had ventured originally from far back east, I seem to remember NY or PA state. And they brought this fine dining to a little old coal-mining town in Missouri!!! Wow. Most of us had chicken as in a bit of a rush and he put it on the "front burner". You can imagine the dessert, and yes we definitely had some of their homemade pies. In another future season (we alternated every other year) we again repeated the visit. However, sadly, the third trip resulted in the shock of seeing only the shell of the building after it had been destroyed by fire. Was never rebuilt and then Pitt stopped playing Truman a few years later and have no idea what then occurred. Just was a memory-maker this week when saw mention of Bevier in your FR. I did go to Wikipedia but could not find any reference to the restaurant.
Thanks for reading, IF you got this far.” Casey
Well, I did get to the end of his comments and sent him a link about the restaurant name, he couldn’t recall, “The Pear Tree.” Also, he was informed that he could visit its reincarnation in the town of nearby, Macon. But, that will never happen or that we can both “break bread” together on this planet but maybe some other time in another place. Until then, this is the final word regarding my friend, Casey.
Rolen Dale “Casey” Casebolt, age 78, passed away unexpectedly at his home on January 10th, 2022.
Casey was born August 2nd, 1943 in Chanute, KS to the late Dale and Mae Casebolt. He graduated from Chanute High School in 1961, Chanute JUCO (now Neosho County Community College) in 1963, and, finally, he received his bachelors in Business Administration from Kansas State College of Pittsburg (now Pittsburg State University) in 1966. He also served in the United States Air Force Reserves during the 1960’s and 1970’s.
After his time in Pittsburg, Casey moved to the Kansas City area, where he permanently resided for the remainder of his life. In 1969, he married what was to be his wife of 52+ years, Eva Hafner of Kansas City, KS. They were true life partners thru the years, especially as Casey traveled extensively on business and Eva maintained their home. Eva and Casey had one son, Scott, born in 1975.
He started a 45+ year career in various sales roles, retiring in 2013 after 29 Years of service as Vice President of Sales for The Gerson Company, Olathe, KS. He was a loyal and dedicated employee as evidenced by only having three employers in his adult life. The others were Montgomery Ward and Ben Franklin Stores. For Casey, people were never business associates, customers, or coworkers. He saw everyone he interacted with as a true friend, as evidenced by his interest in everything about them.
Casey is survived by his wife Eva, of the home; son Scott and his wife Kristin, and his pride and joy, grandson Cale, all of Wichita, KS; bonus grandsons Dylan McCollar of Shawnee, KS and Logan McCollar of Fort Worth, TX; sister Katherine Finley of Chanute, KS; sister-in-laws Joan Weber and Kay Reece (Bob) of Shawnee, KS; brother-in-laws Louis Hafner (Jane) of Tecumseh, KS; Vaughn Hafner (Nancy) of Dallas, TX; plus numerous nieces, nephews, and cousins.
Casey is also survived by a network of friends in the hundreds, possibly thousands. He never met a stranger, often saying “you can never have too many friends”. His interest in everyone he met was genuine, always remembering details no matter how long it had been since he interacted with someone. He truly cared about everyone’s lives, families, and anything else that affected them, whether it was a neighbor, longtime friend, customer, or someone he just met.
He was passionate about many things, but mostly his family and his beloved Pittsburg State University, especially Gorilla Football. On most fall afternoons for the past 30 years you could find Casey, home or away, as the loudest one in the stands to cheer on his mighty Gorillas on the gridiron. From his days of working on the student newspapers at Chanute High School and JUCO, Casey fancied himself as an amateur journalist and was very proud of his group email with over 200 members that he used to update everyone on all things Pitt State. OAGAAG – Once a Gorilla, Always a Gorilla.
A visitation for family and friends will be held on Monday, January 17, 2022 from 5:00 to 7:00pm, with a celebration of life on Tuesday, January 18th at 1:00 pm, both at The Amos Family Funeral Home, 10901 Johnson Dr. Shawnee, KS 66203. We understand that some may not be able to attend, so a live stream of the service will be available for those to view by Clicking Here
As would be Casey’s wishes, memorials are to be directed to the Pittsburg State University Foundation for Student Scholarships at P.O. Box 4005, Pittsburg, KS, 66762.
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faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
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Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
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De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
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De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
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Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
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Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
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Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
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Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
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Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
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Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
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Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
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Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
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Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
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Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
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Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
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De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
_______________________________________________
De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
_______________________________________________
Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
_______________________________________________
Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
_______________________________________________
Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
_______________________________________________
Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
_______________________________________________
Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
_______________________________________________
Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
_______________________________________________
Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
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Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum
www.emergencyrooms.org ( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Male chryselephantine head, probably, representing Apollo.
The remains of the chryselephantine statues representing Apollo and Artemis constitute an outstanding example of a rare sculptural technique that combined sculpted ivory and hammered gold, affixed to a wooden core. As we know from ancient literary sources, sculptors used this technique in the 6th and 5th century for cult statues, as Phidias did when he created the statue of Athena for the Parthenon and that of Zeus for Olympia. Gold leaf or gilt sheets with hammered decoration that rendered the hair, dress, jewellery and other details were fitted onto the wooden core of the statue, while the bare parts of the body, such as the face, hands and feet, were of ivory. The eyes and the eyelashes were inlaid. Two gold bands with wavy decoration render the long chest-length tresses.
According to one possible explanation, the chryselephantine statues were three and they constituted a group representing the Apollonian triad, Apollo with his sister Artemis and their mother Leto
Chryselephantine sculpture
Archaic period
Ionian workshop
6th century BC
Delphi, Archaeological Museum
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
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Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
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De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
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De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
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Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
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Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
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Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
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Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
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Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
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Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
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Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
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Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
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Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
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Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
Venice Biennale / Colonel at the MALDIVES PAVILION : "IS CLIMATE CHANGE STILL AN EMERGENCY ? " ( part 2)
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installation made of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
at the Zimbabwe pavilion he open an Emergency Room mobile open to all emergencies around the tent was the Delay museum
www.emergencyrooms.org ( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
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Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
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De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
_______________________________________________
De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
_______________________________________________
Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
_______________________________________________
Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
_______________________________________________
Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
_______________________________________________
Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
_______________________________________________
Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
_______________________________________________
Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
_______________________________________________
Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
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Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
new pix to the kramat of sheik yussuf of macassar
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
________________________________
Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
_______________________________________________
De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
_______________________________________________
De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
_______________________________________________
Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
_______________________________________________
Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
_______________________________________________
Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
_______________________________________________
Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
_______________________________________________
Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
_______________________________________________
Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
_______________________________________________
Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
________________________________________
Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Salomon van Ruysdael, 1600/03-1670, active in Haarlem
Feast under the maypole, 1655
Nobles, burghers and peasants have gathered around a maypole. So it is spring - the season Ruysdael preferably represented. The painter had (as well as Jan van Goyen, artistically standing in close proximity to him) in his early paintings applied a restrained, almost monochrone colorfulness. In this image dated 1655 now is shown a stronger coloring, as well as the interest in narrative and genre-like details that characterize Ruysdael's mature work.
Salomon van Ruysdael, 1600/03-1670, tätig in Haarlem
Fest unter dem Maibaum, 1655
Adelige, Bürger und Bauern haben sich um einen Maibaum versammelt. Es ist demnach Frühling - Ruysdaels bevorzugt dargestellte Jahreszeit. Der Maler hatte (ebenso wie der ihm künstlerisch verwandte Jan van Goyen) in seinen frühen Bildern eine verhaltene, fast monochrone Farbigkeit angewandt. In diesem 1655 datierten Bild zeigen sich nun eine kräftigere Farbgebung, sowie das Interesse an erzählerischen und genrehaften Details, die Ruysdaels reifes Werk kennzeichnen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
19 c. French Tapestry: Forest Scene
Scene representing a lush forest with green vegetation, with birds, idyllic stream and mountains in the background. Framed by flowers and leaves.
Origin: France
Period: XIX Century
Size: 141" high x 118” wide
Valued at $28,000.00. All bids considered.
To request further details email info@schweitzerlinen.com
or visit facebook.com/schweitzerlinen
"The lower chapel was dedicated to the Virgin Mary, and was used by the non-royal inhabitants of the neighbouring Royal Palace. The portal of the chapel represents the Virgin Mary as a column statue. The portal, and almost all the decoration of the chapel, was created by Geoffroy-Duchaume between 1854 and 1858. The primary decorative themes of the sculpture, columns and murals are the Fleur-de-Lys emblem of Louis IX and a stylised castle, the coat of arms of Blanche of Castile, the mother of Louis IX.
The lower chapel is only 6.6 meters (22 ft) high, with a six-meter wide central vessel and two narrow side aisles. The supports of the ceiling vaults are unusual; the outward thrust of the vaults is counterbalanced by small, elegant arched buttresses between the outer and inner columns, and they are also reinforced by a metallic structure hidden under the paint and plaster.
The one-hundred forty capitals of the columns are an important decorative feature; they are from the mid-13th century, and predate the columns of the upper chapel. They have floral decoration of acanthus leaves typical of the period. Each of the gilded leaves corresponds with a slender colonette above, which rises upward to support the vaults. The columns are painted with alternating floral designs and the castle emblem of Castile. The red, gold and blue painting dates to the 19th century restoration.
The original stained glass of the lower chapel was destroyed by a flood in 1690; it was replaced by colourless glass. The present glass depicts scenes from the life of the Virgin Mary, surrounded by grisaille glass, while the apse has more elaborate and colourful scenes from the Virgin's life. All the windows were designed by Steinheil during the 19th century restoration. The lower chapel originally had a doorway to the sacristy on the left lateral traverse. Since it could not have a window, it was decorated in the 13th century with a mural of the Annunciation. This was rediscovered during the 19th century work, and restored by Steinheil.
The Sainte-Chapelle (French: [sɛ̃t ʃapɛl]; English: Holy Chapel) is a royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the River Seine in Paris, France.
Construction began sometime after 1238 and the chapel was consecrated on 26 April 1248. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ's Crown of Thorns – one of the most important relics in medieval Christendom. This was later held in the nearby Notre-Dame Cathedral until the 2019 fire, which it survived.
Along with the Conciergerie, Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution and restored in the 19th century, it has one of the most extensive 13th-century stained glass collections anywhere in the world.
The chapel is now operated as a museum by the French Centre of National Monuments, along with the nearby Conciergerie, the other remaining vestige of the original palace.
The 1st arrondissement of Paris (Ier arrondissement) is one of the 20 arrondissements of the capital city of France. In spoken French, this arrondissement is colloquially referred to as le premier (the first). It is governed locally together with the 2nd, 3rd and 4th arrondissement, with which it forms the 1st sector of Paris (Paris-Centre).
Also known as Louvre, the arrondissement is situated principally on the right bank of the River Seine. It also includes the west end of the Île de la Cité. The locality is one of the oldest areas in Paris, the Île de la Cité having been the heart of the city of Lutetia, conquered by the Romans in 52 BC, while some parts on the right bank (including Les Halles) date back to the early Middle Ages.
It is the least populated of the city's arrondissements and one of the smallest by area, with a land area of only 1.83 km2 (0.705 sq. miles, or 451 acres). A significant part of the area is occupied by the Louvre Museum and the Tuileries Gardens. The Forum des Halles is the largest shopping mall in Paris. Much of the remainder of the arrondissement is dedicated to business and administration.
Paris (French pronunciation: [paʁi]) is the capital and most populous city of France, with an estimated population of 2,150,271 residents as of 2020, in an area of 105 square kilometres (41 square miles). Since the 17th century, Paris has been one of Europe's major centres of finance, diplomacy, commerce, fashion, science and arts. The City of Paris is the centre and seat of government of the Île-de-France, or Paris Region, which has an estimated official 2020 population of 12,278,210, or about 18 percent of the population of France. The Paris Region had a GDP of €709 billion ($808 billion) in 2017. According to the Economist Intelligence Unit Worldwide Cost of Living Survey in 2018, Paris was the second most expensive city in the world, after Singapore, and ahead of Zürich, Hong Kong, Oslo and Geneva. Another source ranked Paris as most expensive, on a par with Singapore and Hong Kong, in 2018.
The city is a major railway, highway and air-transport hub served by two international airports: Paris–Charles de Gaulle (the second busiest airport in Europe) and Paris–Orly. Opened in 1900, the city's subway system, the Paris Métro, serves 5.23 million passengers daily; it is the second busiest metro system in Europe after the Moscow Metro. Gare du Nord is the 24th busiest railway station in the world, but the first located outside Japan, with 262 million passengers in 2015 Paris is especially known for its museums and architectural landmarks: the Louvre was the most visited art museum in the world in 2019, with 9.6 million visitors. The Musée d'Orsay, Musée Marmottan Monet, and Musée de l'Orangerie are noted for their collections of French Impressionist art, the Pompidou Centre Musée National d'Art Moderne has the largest collection of modern and contemporary art in Europe, and the Musée Rodin and Musée Picasso exhibit the works of two noted Parisians. The historical district along the Seine in the city centre is classified as a UNESCO Heritage Site, and popular landmarks in the city centre included the Cathedral of Notre Dame de Paris, on the Île de la Cité, now closed for renovation after the 15 April 2019 fire. Other popular tourist sites include the Gothic royal chapel of Sainte-Chapelle, also on the Île de la Cité; the Eiffel Tower, constructed for the Paris Universal Exposition of 1889; the Grand Palais and Petit Palais, built for the Paris Universal Exposition of 1900; the Arc de Triomphe on the Champs-Élysées, and the Basilica of Sacré-Coeur on the hill of Montmartre.
Paris received 38 million visitors in 2019, measured by hotel stays, with the largest numbers of foreign visitors coming from the United States, the United Kingdom, Germany and China. It was ranked as the second most visited travel destination in the world in 2019, after Bangkok and just ahead of London. The football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris. The 80,000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros. The city hosted the Olympic Games in 1900, 1924 and will host the 2024 Summer Olympics. The 1938 and 1998 FIFA World Cups, the 2007 Rugby World Cup, as well as the 1960, 1984 and 2016 UEFA European Championships were also held in the city. Every July, the Tour de France bicycle race finishes on the Avenue des Champs-Élysées in Paris." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Resurrección de Jesús.
La resurrección de Jesús es un episodio evangélico y un tema muy representado en el arte cristiano, dentro del ciclo de la Pasión. En la literatura cristiana Jesús es, por antonomasia, "el Resucitado".
Según el Nuevo Testamento, ocurrió al tercer día de que Jesús fuera crucificado, muerto y sepultado en una tumba. El momento preciso de la resurrección no se describe, ni aparece como presenciado por nadie (ni siquiera por los soldados que custodiaban el lugar); sí su consecuencia: las miróforas1 (tres Marías o santas mujeres) encuentran la tumba vacía2 (en uno de los evangelios, el de Mateo, en medio de un estruendo causado por la llegada de un ángel -en los demás evangelios también aparecen ángeles, aunque en otra actitud-). A partir de ese momento se mencionan varias apariciones de Jesús resucitado3 en diversas ocasiones, tanto a María Magdalena (Noli me tangere) como a los apóstoles (Tomás, que había mostrado su incredulidad,4 es invitado por el propio Jesucristo a meter la mano en la llaga del costado)5 y a otros discípulos (a los discípulos de Emaús y a un grupo de más de quinientos "hermanos").6
La resurrección de Jesucristo se celebra en el calendario cristiano con la festividad del domingo de pascua o de resurrección. El domingo de resurrección se denomina también en los Συναξάριον synaxarion y calendarios litúrgicos de la iglesia ortodoxa "domingo de las miróforas con el noble José.7
Los textos evangélicos datan el descubrimiento de la tumba vacía en el primer día de la semana siguiente a la celebración de la pascua judía (que es la festividad que se celebró en la última cena). La expresión al tercer día, que suscita una curiosa controversia cronológica (menos de cuarenta y ocho horas se cuentan como tres días),8 es la más utilizada por recogerse en el Credo: resucitó al tercer día, según las Escrituras;9 y proviene de un fragmento del Evangelio de Lucas: ya van tres días que sucedieron estas cosas (la muerte de Jesús)10 y, más literalmente, de otro de la primera Epístola de San Pablo a los corintios:
os he enseñado lo que asimismo recibí: Que Cristo murió por nuestros pecados, conforme a las Escrituras, y que fue sepultado, y que resucitó al tercer día, conforme a las Escrituras.11
Interpretación teológica
El que Cristo resucitara, triunfando sobre la muerte, es el punto clave de la doctrina y teología cristiana. Tal importancia se declara desde los propios textos bíblicos:
Y si Cristo no resucitó, la fe de ustedes es inútil y sus pecados no han sido perdonados.
Primera epístola de San Pablo a los corintios, capítulo 15, versículo 17.12
La frase, muy citada, suele darse también en esta otra traducción al castellano:
si Cristo no ha resucitado, vana es vuestra fe;
pero también con una significativa diferencia:
si Cristo no ha resucitado, vana es nuestra fe.13
La muerte de Jesús y su posterior resurrección fundamentan la doctrina de la salvación (soteriología), que establece cómo estos acontecimientos causaron la redención del género humano (condenado desde el pecado original que pesaba sobre él desde los primeros padres) y abrieron la posibilidad de que cada hombre pudiera también, tras su propia muerte, gozar de la vida eterna en la Gloria.
[editar]La resurrección en los evangelios canónicos
La resurrección y las escenas subsiguientes son el fin natural de los evangelios canónicos, que (tanto en los tres sinópticos como en el de Juan, a pesar de sus diferencias) trazan una narración lógica y cronológica continuada desde la encarnación.
1 Pasado el sábado, al amanecer del primer día de la semana, María Magdalena y la otra María fueron a visitar el sepulcro.
2 De pronto, se produjo un gran temblor de tierra: el ángel del Señor bajó del cielo, hizo rodar la piedra del sepulcro y se sentó sobre ella.
3 Su aspecto era como el de un relámpago y sus vestiduras eran blancas como la nieve.
4 Al verlo, los guardias temblaron de espanto y quedaron como muertos.
5 El ángel dijo a las mujeres: «No teman, yo sé que ustedes buscan a Jesús, el Crucificado.
6 No está aquí, porque ha resucitado como lo había dicho. Vengan a ver el lugar donde estaba,
7 y vayan en seguida a decir a sus discípulos: «Ha resucitado de entre los muertos, e irá antes que ustedes a Galilea: allí lo verán». Esto es lo que tenía que decirles».
8 Las mujeres, atemorizadas pero llenas de alegría, se alejaron rápidamente del sepulcro y fueron a dar la noticia a los discípulos.
9 De pronto, Jesús salió a su encuentro y las saludó, diciendo: «Alégrense». Ellas se acercaron y, abrazándole los pies, se postraron delante de él.
10 Y Jesús les dijo: «No teman; avisen a mis hermanos que vayan a Galilea, y allí me verán».
Evangelio de Mateo, capítulo 28.14
1 Pasado el sábado, María Magdalena, María, la madre de Santiago, y Salomé compraron perfumes para ungir el cuerpo de Jesús.
2 A la madrugada del primer día de la semana, cuando salía el sol, fueron al sepulcro.
3 Y decían entre ellas: «¿Quién nos correrá la piedra de la entrada del sepulcro?»
4 Pero al mirar, vieron que la piedra había sido corrida; era una piedra muy grande.
5 Al entrar al sepulcro, vieron a un joven sentado a la derecha, vestido con una túnica blanca. Ellas quedaron sorprendidas.
6 pero él les dijo: «No teman. Ustedes buscan a Jesús de Nazaret, el Crucificado. Ha resucitado, no está aquí. Miren el lugar donde lo habían puesto.
7 Vayan ahora a decir a sus discípulos y a Pedro que él irá antes que ustedes a Galilea; allí lo verán, como él se lo había dicho».
8 Ellas salieron corriendo del sepulcro, porque estaban temblando y fuera de sí. Y no dijeron nada a nadie, porque tenían miedo.
9 Jesús, que había resucitado a la mañana del primer día de la semana, se apareció primero a María Magdalena, aquella de quien había echado siete demonios.
10 Ella fue a contarlo a los que siempre lo habían acompañado, que estaban afligidos y lloraban.
11 Cuando la oyeron decir que Jesús estaba vivo y que lo había visto, no le creyeron.
Evangelio de Marcos, capítulo 16.15
1 El primer día de la semana, al amanecer, las mujeres fueron al sepulcro con los perfumes que habían preparado.
2 Ellas encontraron removida la piedra del sepulcro
3 y entraron, pero no hallaron el cuerpo del Señor Jesús.
4 Mientras estaban desconcertadas a causa de esto, se les aparecieron dos hombres con vestiduras deslumbrantes.
5 Como las mujeres, llenas de temor, no se atrevían a levantar la vista del suelo, ellos les preguntaron: «¿Por qué buscan entre los muertos al que está vivo?
6 No está aquí, ha resucitado. Recuerden lo que él les decía cuando aún estaba en Galilea:
7 «Es necesario que el Hijo del Hombre sea entregado en manos de los pecadores, que sea crucificado y que resucite al tercer día».
8 Y las mujeres recordaron sus palabras.
9 Cuando regresaron del sepulcro, refirieron esto a los Once y a todos los demás.
10 Eran María Magdalena, Juana y María, la madre de Santiago, y las demás mujeres que las acompañaban. Ellas contaron todo a los Apóstoles,
11 pero a ellos les pareció que deliraban y no les creyeron.
12 Pedro, sin embargo, se levantó y corrió hacia el sepulcro, y al asomarse, no vio más que las sábanas. Entonces regresó lleno de admiración por que había sucedido.
Evangelio de Lucas, capítulo 24.16
1 El primer día de la semana, de madrugada, cuando todavía estaba oscuro, María Magdalena fue al sepulcro y vio que la piedra había sido sacada.
2 Corrió al encuentro de Simón Pedro y del otro discípulo al que Jesús amaba, y les dijo: «Se han llevado del sepulcro al Señor y no sabemos dónde lo han puesto».
3 Pedro y el otro discípulo salieron y fueron al sepulcro.
4 Corrían los dos juntos, pero el otro discípulo corrió más rápidamente que Pedro y llegó antes.
5 Asomándose al sepulcro, vio las vendas en el suelo, aunque no entró.
6 Después llegó Simón Pedro, que lo seguía, y entró en el sepulcro; vio las vendas en el suelo,
7 y también el sudario que había cubierto su cabeza; este no estaba con las vendas, sino enrollado en un lugar aparte.
8 Luego entró el otro discípulo, que había llegado antes al sepulcro: él también vio y creyó.
9 Todavía no habían comprendido que, según la Escritura, él debía resucitar de entre los muertos.
10 Los discípulos regresaron entonces a su casa.
11 María se había quedado afuera, llorando junto al sepulcro. Mientras lloraba, se asomó al sepulcro
12 y vio a dos ángeles vestidos de blanco, sentados uno a la cabecera y otro a los pies del lugar donde había sido puesto el cuerpo de Jesús.
13 Ellos le dijeron: «Mujer, ¿por qué lloras?». María respondió: «Porque se han llevado a mi Señor y no sé dónde lo han puesto».
14 Al decir esto se dio vuelta y vio a Jesús, que estaba allí, pero no lo reconoció.
15 Jesús le preguntó: «Mujer, ¿por qué lloras? ¿A quién buscas?». Ella, pensando que era el cuidador de la huerta, le respondió: «Señor, si tú lo has llevado, dime dónde lo has puesto y yo iré a buscarlo».
16 Jesús le dijo: «¡María!». Ella lo reconoció y le dijo en hebreo: «¡Raboní!», es decir «¡Maestro!».
17 Jesús le dijo: «No me retengas, porque todavía no he subido al Padre. Ve a decir a mis hermanos: «Subo a mi Padre, el Padre de ustedes; a mi Dios, el Dios de ustedes».
18 María Magdalena fue a anunciar a los discípulos que había visto al Señor y que él le había dicho esas palabras.
Evangelio de Juan, capítulo 20.17
[editar]La resurrección en los evangelios apócrifos
Los evangelios apócrifos que desarrollan más ampliamente el tema de la resurrección son el Evangelio de Pedro y otros "Evangelios de la pasión y resurrección" así como el Evangelio de María (con los diálogos entre Jesús y María Magdalena tras la resurrección) y otros "Diálogos del resucitado" de carácter gnóstico.18
Iconografía.
Simbolismo paleocristiano
El arte paleocristiano, fuertemente simbólico, tuvo en el triunfo sobre la muerte uno de sus principales motivos. En el periodo de las persecuciones, el tema de la resurrección (trascendental para una comunidad que venera a sus mártires) se aludía a través de los pasajes bíblicos que se consideraban alegóricos de ella, como el de Daniel en el foso de los leones.21 Con la cristianización del Imperio romano,22 el arte cristiano pasó a desarrollarse pública y monumentalmente, y el tema de la resurrección se expresó en formas derivadas de la civilización romana: tanto en el crismón (evolución del lábaro imperial, transformado en cruz por el In hoc signo vinces del sueño que Constantino tuvo antes de la batalla del puente Milvio -en sus monedas aparece ese lábaro-crismón venciendo a una serpiente-)23 como en el ábside de las basílicas (donde se reproduce la forma del arco de triunfo).
La cruz deja de ser un simple instrumento de tortura para convertirse en un símbolo de triunfo sobre la muerte, que recuerda al cristiano la resurrección de Cristo y la promesa de su su segunda venida.
Un sarcófago procedente de la catacumba de Domitila (ca. 350) es uno de los primeros ejemplos del uso del crismón como crux invicta ("cruz invicta" o cruz triunfante) en contextos funerarios, como símbolo de la resurrección y triunfo sobre la muerte (rodeada por una corona de laurel, uno de los elementos del triunfo romano). A sus pies, dos soldados hacen referencia a los que custodiaban el sepulcro de Cristo.24 Posteriormente, en la Edad Media, se generalizó el uso de la cruz funeraria.
La crux gemmata25 ("cruz de gemas" o enjoyada) reproduce la cruz monumental de oro y piedras preciosas que Constantino mandó levantar en el monte Calvario de Jerusalén, y que se reproduce en el mosaico del ábside de la basílica de Santa Pudenciana de Roma.
Tema pictórico y escultórico
En pintura, la convención iconográfica fijada desde el Gótico26 para el tema de la resurrección incluye la presencia de soldados dormidos (ocasionalmente, despiertos y asombrados -mezclando anacrónicamente su actitud en el momento de la resurrección con la de la aparición del ángel, tal como se describe en el evangelio de Mateo-) en torno a la tumba abierta de Cristo27 de la que surge su figura semidesnuda (envuelta en su sudario) elevándose milagrosamente, rodada de un halo luminoso y portando un estandarte de la cruz.
Hay excelentes ejemplos de representaciones pictóricas de la Resurrección tanto en el Renacimiento italiano (La resurrección de Cristo de Piero della Francesca, La resurrección de Cristo de Rafael) como en el Renacimiento nórdico (una de las tablas del Altar de Isenheim, de Grünewald), en el Manierismo (La resurrección de Cristo, de El Greco) o en el Barroco (La resurrección de Cristo de Rubens).
En escultura la iconografía de la resurrección es similar, aunque en el caso del Cristo de la Minerva de Miguel Ángel (que se suele denominar como "Cristo redentor"), se optó por representar a Cristo resucitado completamente desnudo, y abrazando la cruz, como símbolo de su victoria tanto sobre la muerte como sobre el pecado.28
No debe confundirse el tema artístico de la resurrección con otros con los que puede tener alguna similitud formal o conceptual: la transfiguración (que refleja un episodio evangélico anterior a la muerte de Cristo, en el que la figura de Cristo se ilumina), la ascensión (que refleja uno posterior, en el que Cristo asciende al cielo ante la vista de sus discípulos), la anastasis Aναστασις ("resurrección" en griego, término que, como tema artístico, se refiere a la visita de Cristo al limbo -descenso de Cristo a los infiernos-, entre la resurrección y la ascensión). Algunos otros temas iconográficos participan de elementos de la resurrección y de otros episodios, como los denominados Varón de dolores o Cristo de las cinco llagas (donde, junto a un Cristo resucitado aparecen tanto elementos de la resurrección como las arma Christi -instrumentos de la Pasión-) y las denominadas Cristo muerto sostenido por ángeles.
[editar]Notas
↑ Se aplica muy poco en masculino (miróforos), y designa los personajes que intervienen en descubrimiento de la tumba vacía. La palabra griega Μυροφόροι, transcrita al latín como Myrophorae, literalmente significa "portadores de la mirra". Además de las Tres Marías, hay dos varones que no intervienen en este episodio pero que se identifican con la mirra en este contexto: Nicodemo y José de Arimatea, que intervinieron en el descendimiento de la Cruz y embalsamaron el cuerpo de Cristo con mirra y aloes. Richard Bauckham, Jesus and the Eyewitnesses (Eerdmans Publishing Company: Cambridge, 2006, fuente citada en en:Myrrhbearers. En el contexto de la natividad de Jesús, los reyes magos llevaron oro, incienso y mirra como regalo al Niño.
↑ Stagg, Evelyn and Frank. Woman in the World of Jesus. Philadelphia: Westminster Press, 1978 ISBN 0-664-24195-6. Fuente citada en en:Empty tomb
↑ Tilborg, Sj. van and P. Chatelion Counet. Jesus' Appearances and Disappearances in Luke 24, Leiden etc.: Brill, 2000. Fuente citada en en:Resurrection appearances of Jesus
↑ Glenn W. Most, Doubting Thomas. Fuente citada en en:Doubting Thomas. Véase también La incredulidad de santo Tomás (Caravaggio).
↑ Evangelio de Juan, 20: 24-29. Traducción argentina en la web oficial del Vaticano.
↑ 1 Corintios 15:6. Traducción argentina en la web oficial del Vaticano.
↑ Sunday of the Holy Myrrhbearing Women with the Noble Joseph. Véase también en:Synaxarius.
↑ La Resurección de Jesús (foro con pregunta y comentarios sobre estos cómputos).
↑ credo Credo de Nicena-Constantinopla, en la web oficial del Vaticano. La misma página recoge el Símbolo de los apóstoles, que dice: al tercer día resucitó de entre los muertos.
↑ Traducción argentina en en la web oficial del Vaticano.
↑ John Lankford, La muerte de Cristo está mostrada por el pan y la copa, y la resurrección por el primer día de la semana, en La Voz Eterna, Septiembre-Octubre 2004.
↑ Traducción argentina en la web oficial del Vaticano.
↑ Véanse ejemplos bibliográficos de uso de la primera y de la segunda de ambas frases. En la versión de Evaristo Martín Nieto la frase se traduce como Y si Cristo no ha resucitado, vana es nuestra fe; todavía estáis en vuestros pecados (edición de 2008). En la versión de Reina-Valera la frase se traduce como y si Cristo no resucitó, vuestra fe es vana; aún estáis en vuestros pecados (edición de 1960 -Bible Gateway-).
↑ Traducción argentina en la web oficial del Vaticano.
↑ Traducción argentina en la web oficial del Vaticano.
↑ Traducción argentina en la web oficial del Vaticano.
↑ Traducción argentina en la web oficial del Vaticano.
↑ Santiago Guijarro Evangelios canónicos y evangelios apócrifos, en Comentario al Nuevo Testamento, Sígueme - Verbo Divino, 1995.
↑ Dizionario biografico degli italiani, vo.64, Roma, Istituto dell'Enciclopedia Italiana, 2005 (Laureti Tommaso Detto Il Siciliano). Fuente citada en it:Tommaso Lauretti.
↑ Web de los Museos Vaticanos, fuente citada en it:Sala di Costantino
↑ Boice, James Montgomery (2006). Daniel: An Expositional Commentary. Baker Books. Fuente citada en en:Daniel in the lions' den
↑ Ramsay MacMullen, "Christianizing The Roman Empire A.D. 100-400, Yale University Press, 1984, ISBN 0-300-03642-6. Fuente citada en en:Constantine I and Christianity. Véase también cristianización e Imperio romano.
↑ Understanding early Christian art by Robin Margaret Jensen 2000 ISBN 0-415-20454-2 page 149
↑ Ronald John Zawilla, Cross and Crucifix in the Christian Assembly - Part I (The Early Christian Period: Crux Invicta, Crux Gemmata) en Envision Church, 30 de octubre de 2007.
↑ Schiller, Gertud, Iconography of Christian Art, Vol. I, 1971 (English trans from German), Lund Humphries, London, ISBN 853312702 Fuente citada en en:Crux gemmata
↑
Iconografía de la Resurrección: origen y evolución a través del arte
Matilde Azcárate de Luxán, Iconografía de la Resurrección en la escultura gótica española, en En la España Medieval, Universidad Complutense de Madrid 2012, ISSN 0214-3038
↑ en:Tomb of Jesus
↑ The Sexuality of Christ in Renaissance Art and in Modern Oblivion. Steinberg, Leo. University of Chicago Press. 2nd ed. 1997.
La Procesión del Santo Entierro, que se celebra en la tarde noche del Viernes Santo, es el acto religioso de mayor trascendencia popular de todos los que se celebran durante la Semana Santa, estando íntimamente unida a las vicisitudes históricas de Zaragoza. Es un auténtico Vía Crucis esculturado que representa la totalidad de los misterios de la Pasión de Cristo. Su organización es competencia de la Muy Ilustre, Antiquísima y Real Hermandad de la Preciosísima Sangre de Cristo y Madre de Dios de Misericordia y en ella participan todas las cofradías zaragozanas. El encargado de coordinar todo el transcurso de la procesión es el Cetro General, cargo que es desempeñado por uno de los cincuenta hermanos receptores de la Sangre de Cristo siguiendo un riguroso orden de antigüedad, por lo que podemos asegurar que se ocupa este puesto una única vez en la vida. La mayor espectacularidad de la procesión radica en poder ver una tras otra las diferentes cofradías, cada una con su estilo y peculiaridades diferentes, portando sus pasos y tocando sus instrumentos con sus toques característicos. Nos encontramos ante la mayor concentración de tambores y bombos en una procesión que se da en toda España.
Es extraordinariamente complicado fijar el origen exacto de esta procesión. Sabemos que, al menos desde 1525, existía una gran devoción al grupo escultórico del Entierro de Cristo que se encontraba en el claustro del desaparecido Convento del Carmen. En esta capilla, instituyó don Juan de Funes y Villapando la procesión del Santo Entierro; posteriormente, en 1617, se produciría la unificación entre esta procesión, la que realizaban los franciscanos y la de la Hermandad de la Sangre de Cristo. Pocos años después, en 1622, tenemos otro documento en el que ya aparece la Sangre de Cristo como responsable y organizadora. Durante los siglos XVII y XVIII, la procesión se fue enriqueciendo con diversos elementos, propios de la estética barroca, que la hicieron cada vez más completa y espectacular. De 1666 se conserva una completa descripción del acto del Descendimiento, que se celebraba delante del Convento de San Francisco, y de los participantes y el orden de la procesión.
Los Sitios de Zaragoza supusieron la pérdida de la práctica totalidad del patrimonio procesional de la Hermandad. De los catorce pasos que formaban parte del Santo Entierro sólo se salvó uno: El Santo Cristo de la Cama. Una heroína de la que poco sabemos, María Blázquez, se internó entre las ruinas del Convento de San Francisco y, con la ayuda de unos hombres, rescató la venerada imagen. Arruinados, con su sede desparecida y con muchos hermanos fallecidos durante Los Sitios, los hermanos comenzaron la labor de reconstruir la Hermandad y el Santo Entierro. En 1813 se ubican en San Cayetano, donde permanecen hasta ahora, y al año siguiente ya sale de nuevo la procesión. Poco a poco irán encargando nuevos pasos, que sustituirán a los destruidos en la Guerra, obra de diferentes escultores aragoneses. La procesión recupera todo su antiguo esplendor y, en 1909, se convoca un concurso, impulsado por el Sindicato de Iniciativas de Aragón, para la renovación del Santo Entierro con el fin de darle mayor brillantez y fomentar la afluencia de forasteros en otra época diferente de las anuales fiestas del Pilar.
Los pasos eran llevados a hombros; en los varales de la peana, los labradores mayores y, en los laterales, los costaleros y mozos. Los cabeceros solían ser labradores o artesanos acomodados, siendo el cargo hereditario, y al finalizar la procesión eran los encargados de repartir a los fieles los ramos de olivo y de laurel que ornamentaban los pasos. A todos ellos se les llamaba terceroles, vestían túnicas negras ceñidas con un cíngulo también negro del que colgaban un pañuelo o sudario con el que se enjugaban el sudor. Durante la Segunda República no salió la procesión en los años 1932, 1933 y 1934; a partir de 1936, una huelga de los terceroles significó que muchos de los pasos se carrozaran poniendo ruedas. Diferentes asociaciones religiosas y grupos se ofrecieron a llevar los pasos y este fue el origen de la creación de las nuevas cofradías que fueron surgiendo a partir de 1937. Este hecho fue decisivo para nuestra Semana Santa y configuró el Santo Entierro actual, con su eclosión de hábitos y estilos diferentes.
La procesión del Santo Entierro conserva algunos elementos que delatan su antigüedad y le dan un sabor que recuerda a los antiguos autos sacramentales. Abre la procesión la bandera negra de la Hermandad (de espectacular tamaño) acompañada de las campanas (que anuncian la llegada de la procesión) y las escalerillas que son atributos de la pasión. A continuación, desfila un grupo de personajes bíblicos del Antiguo Testamento: Abraham, Isaac, Aarón, Moisés, Melquisedec y David. Se pueden identificar por los atributos que portan, algunos son muy curiosos como el arpa del rey David que es del siglo XVIII. Tras ellos desfilan doce hombres y mujeres portando banderas del siglo XIX en representación de las Doce Tribus de Israel. Entre las Cofradías de la Entrada y de la Eucaristía desfilan los doce Apóstoles portando palmas y la Samaritana con su ánfora. Delante de la carroza del Santo Sepulcro van doce hombres portando unos enormes hachones de cera roja, representan a los Santos Padres que Jesucristo sacó del seno de Abraham. Aunque siguen luciendo vestiduras blancas, antiguamente adornaban sus cabezas con coronas doradas. Escoltando al Cristo de la Cama va la Guardia Romana, sección de la Sangre de Cristo de gran antigüedad, que ambienta históricamente el momento de la Pasión. Sus uniformes reproducen fielmente los de la legión romana VIII, que estuvo establecida en Cesaraugusta. Otros elementos y personajes se han ido perdiendo a lo largo del tiempo, como las doce Sibilas que eran representadas por doce niñas, los estandartes de las cuatro partes del mundo, que no participan por estar muy deteriorados, o el palio de respeto que desfilaba tras la carroza del Santo Sepulcro.
Rodney Stoke is a small village and civil parish, located at grid reference ST486501, 5 miles north-west of Wells, in the English county of Somerset. The village is on the A371 between Draycott and Westbury-sub-Mendip.
The parish includes the larger village of Draycott. South of the A371 the parish includes an area of the Somerset Levels, extending to the River Axe. North of the A371 the southern slopes of the Mendip Hills rise to an area of the parish on the Mendip plateau. The parish is therefore an area of high biodiversity supporting local rare species of plants and animal life.
Close to the village is Westbury Camp, which represents the remains of an Iron Age enclosed settlement and has been designated as a Scheduled Ancient Monument.
Rodney Stoke was listed in the Domesday Book of 1086 as Stoches, meaning 'a stockaded settlement' from the Old English stoc. In 1291 the place name was recorded as Stokgifford. The Giffords were Saxon nobility at the time of Edward the Confessor with Walter Gifford (then spelt Gifard) as the Earl of Buckingham.
The parish was part of the Winterstoke Hundred.
The village was the home of, and is probably named after, Sir John Rodney (d. 1400). However Ekwall indicates that Stoke Gifford was held by Richard de Rodene in 1303.
The first Baron Rodney was George Brydges Rodney (1718/19–92), a British naval admiral of Napoleonic times.
It is one of the nine Thankful Villages in Somerset which suffered no fatalities during World War I. There is a memorial window in the Parish Church together with a new plaque that testifies to the village's enduring pride in their good fortune.
The parish council has responsibility for local issues, including setting an annual precept (local rate) to cover the council's operating costs and producing annual accounts for public scrutiny. The parish council evaluates local planning applications and works with the local police, district council officers, and neighbourhood watch groups on matters of crime, security, and traffic. The parish council's role also includes initiating projects for the maintenance and repair of parish facilities, as well as consulting with the district council on the maintenance, repair, and improvement of highways, drainage, footpaths, public transport, and street cleaning. Conservation matters (including trees and listed buildings) and environmental issues are also the responsibility of the council.
The village falls within the Non-metropolitan district of Mendip, which was formed on 1 April 1974 under the Local Government Act 1972, having previously been part of Wells Rural District, which is responsible for local planning and building control, local roads, council housing, environmental health, markets and fairs, refuse collection and recycling, cemeteries and crematoria, leisure services, parks, and tourism.
Somerset County Council is responsible for running the largest and most expensive local services such as education, social services, libraries, main roads, public transport, policing and fire services, trading standards, waste disposal and strategic planning.
The village is in the 'Rodney and Westbury' electoral ward. The ward starts in the north west at Draycott and passes through Rodney Stoke to end at Westbury-sub-Mendip. The total population of the ward as at the 2011 census was 2,127.
It is also part of the Wells county constituency represented in the House of Commons of the Parliament of the United Kingdom. It elects one Member of Parliament (MP) by the first past the post system of election.
The land is noteworthy for its importance as a flight corridor and feeding ground for the Greater Horseshoe Bat. Cheddar Complex, a Site of Special Scientific Interest, lies to the north and Mascalls' Wood, an ancient woodland and Somerset Wildlife Trust Nature Reserve, lies to the west. The cross roads may be the site of an old Roman road.
Close to the village is the Rodney Stoke nature reserve, which is a Site of Special Scientific Interest (SSSI).
The church of St Leonard, was built around 1175 and is a Grade I listed building. The interior of the church contains a screen, bearing the date 1624, the gift of Sir Edward Rodney, which includes a representation of the martyrdom of St Erasmus, who was killed by having his entrails removed.
Notable residents
Edward Rodney (1590–1657), MP for Wells and Somerset at various times between 1621 and 1642, lived in Rodney Stoke and was buried there.
John Rodney (died 1400), MP for Somerset, 1391–1393, lived in Rodney Stoke.
Frances Southwell (died 1659), courtier and wife of Edward Rodney, lived in Rodney Stoke.
Thomas Tremlett (1834–1894), first-class cricketer, was born in Rodney Stoke.
Somerset is a ceremonial county in South West England. It is bordered by the Bristol Channel, Gloucestershire, and Bristol to the north, Wiltshire to the east and the north-east, Dorset to the south-east, and Devon to the south-west. The largest settlement is the city of Bath, and the county town is Taunton.
Somerset is a predominantly rural county, especially to the south and west, with an area of 4,171 km2 (1,610 sq mi) and a population of 965,424. After Bath (101,557), the largest settlements are Weston-super-Mare (82,418), Taunton (60,479), and Yeovil (49,698). Wells (12,000) is a city, the second-smallest by population in England. For local government purposes the county comprises three unitary authority areas: Bath and North East Somerset, North Somerset, and Somerset.
The centre of Somerset is dominated by the Levels, a coastal plain and wetland, and the north-east and west of the county are hilly. The north-east contains part of the Cotswolds AONB, all of the Mendip Hills AONB, and a small part of Cranborne Chase and West Wiltshire Downs AONB; the west contains the Quantock Hills AONB, a majority of Exmoor National Park, and part of the Blackdown Hills AONB. The main rivers in the county are the Avon, which flows through Bath and then Bristol, and the Axe, Brue, and Parrett, which drain the Levels.
There is evidence of Paleolithic human occupation in Somerset, and the area was subsequently settled by the Celts, Romans and Anglo-Saxons. The county played a significant part in Alfred the Great's rise to power, and later the English Civil War and the Monmouth Rebellion. In the later medieval period its wealth allowed its monasteries and parish churches to be rebuilt in grand style; Glastonbury Abbey was particularly important, and claimed to house the tomb of King Arthur and Guinevere. The city of Bath is famous for its Georgian architecture, and is a UNESCO World Heritage Site. The county is also the location of Glastonbury Festival, one of the UK's major music festivals.
Somerset is a historic county in the south west of England. There is evidence of human occupation since prehistoric times with hand axes and flint points from the Palaeolithic and Mesolithic eras, and a range of burial mounds, hill forts and other artefacts dating from the Neolithic, Bronze and Iron Ages. The oldest dated human road work in Great Britain is the Sweet Track, constructed across the Somerset Levels with wooden planks in the 39th century BCE.
Following the Roman Empire's invasion of southern Britain, the mining of lead and silver in the Mendip Hills provided a basis for local industry and commerce. Bath became the site of a major Roman fort and city, the remains of which can still be seen. During the Early Medieval period Somerset was the scene of battles between the Anglo-Saxons and first the Britons and later the Danes. In this period it was ruled first by various kings of Wessex, and later by kings of England. Following the defeat of the Anglo-Saxon monarchy by the Normans in 1066, castles were built in Somerset.
Expansion of the population and settlements in the county continued during the Tudor and more recent periods. Agriculture and coal mining expanded until the 18th century, although other industries declined during the industrial revolution. In modern times the population has grown, particularly in the seaside towns, notably Weston-super-Mare. Agriculture continues to be a major business, if no longer a major employer because of mechanisation. Light industries are based in towns such as Bridgwater and Yeovil. The towns of Taunton and Shepton Mallet manufacture cider, although the acreage of apple orchards is less than it once was.
The Palaeolithic and Mesolithic periods saw hunter-gatherers move into the region of Somerset. There is evidence from flint artefacts in a quarry at Westbury that an ancestor of modern man, possibly Homo heidelbergensis, was present in the area from around 500,000 years ago. There is still some doubt about whether the artefacts are of human origin but they have been dated within Oxygen Isotope Stage 13 (524,000 – 478,000 BP). Other experts suggest that "many of the bone-rich Middle Pleistocene deposits belong to a single but climatically variable interglacial that succeeded the Cromerian, perhaps about 500,000 years ago. Detailed analysis of the origin and modification of the flint artefacts leads to the conclusion that the assemblage was probably a product of geomorphological processes rather than human work, but a single cut-marked bone suggests a human presence." Animal bones and artefacts unearthed in the 1980s at Westbury-sub-Mendip, in Somerset, have shown evidence of early human activity approximately 700,000 years ago.
Homo sapiens sapiens, or modern man, came to Somerset during the Early Upper Palaeolithic. There is evidence of occupation of four Mendip caves 35,000 to 30,000 years ago. During the Last Glacial Maximum, about 25,000 to 15,000 years ago, it is probable that Somerset was deserted as the area experienced tundra conditions. Evidence was found in Gough's Cave of deposits of human bone dating from around 12,500 years ago. The bones were defleshed and probably ritually buried though perhaps related to cannibalism being practised in the area at the time or making skull cups or storage containers. Somerset was one of the first areas of future England settled following the end of Younger Dryas phase of the last ice age c. 8000 BC. Cheddar Man is the name given to the remains of a human male found in Gough's Cave in Cheddar Gorge. He is Britain's oldest complete human skeleton. The remains date from about 7150 BC, and it appears that he died a violent death. Somerset is thought to have been occupied by Mesolithic hunter-gatherers from about 6000 BCE; Mesolithic artefacts have been found in more than 70 locations. Mendip caves were used as burial places, with between 50 and 100 skeletons being found in Aveline's Hole. In the Neolithic era, from about 3500 BCE, there is evidence of farming.
At the end of the last ice age the Bristol Channel was dry land, but later the sea level rose, particularly between 1220 and 900 BC and between 800 and 470 BCE, resulting in major coastal changes. The Somerset Levels became flooded, but the dry points such as Glastonbury and Brent Knoll have a long history of settlement, and are known to have been occupied by Mesolithic hunters. The county has prehistoric burial mounds (such as Stoney Littleton Long Barrow), stone rows (such as the circles at Stanton Drew and Priddy) and settlement sites. Evidence of Mesolithic occupation has come both from the upland areas, such as in Mendip caves, and from the low land areas such as the Somerset Levels. Dry points in the latter such as Glastonbury Tor and Brent Knoll, have a long history of settlement with wooden trackways between them. There were also "lake villages" in the marsh such as those at Glastonbury Lake Village and Meare. One of the oldest dated human road work in Britain is the Sweet Track, constructed across the Somerset Levels with wooden planks in the 39th century BC, partially on the route of the even earlier Post Track.
There is evidence of Exmoor's human occupation from Mesolithic times onwards. In the Neolithic period people started to manage animals and grow crops on farms cleared from the woodland, rather than act purely as hunter gatherers. It is also likely that extraction and smelting of mineral ores to make tools, weapons, containers and ornaments in bronze and then iron started in the late Neolithic and into the Bronze and Iron Ages.
The caves of the Mendip Hills were settled during the Neolithic period and contain extensive archaeological sites such as those at Cheddar Gorge. There are numerous Iron Age Hill Forts, which were later reused in the Dark Ages, such as Cadbury Castle, Worlebury Camp and Ham Hill. The age of the henge monument at Stanton Drew stone circles is unknown, but is believed to be from the Neolithic period. There is evidence of mining on the Mendip Hills back into the late Bronze Age when there were technological changes in metal working indicated by the use of lead. There are numerous "hill forts", such as Small Down Knoll, Solsbury Hill, Dolebury Warren and Burledge Hill, which seem to have had domestic purposes, not just a defensive role. They generally seem to have been occupied intermittently from the Bronze Age onward, some, such as Cadbury Camp at South Cadbury, being refurbished during different eras. Battlegore Burial Chamber is a Bronze Age burial chamber at Williton which is composed of three round barrows and possibly a long, chambered barrow.
The Iron Age tribes of later Somerset were the Dobunni in north Somerset, Durotriges in south Somerset and Dumnonii in west Somerset. The first and second produced coins, the finds of which allows their tribal areas to be suggested, but the latter did not. All three had a Celtic culture and language. However, Ptolemy stated that Bath was in the territory of the Belgae, but this may be a mistake. The Celtic gods were worshipped at the temple of Sulis at Bath and possibly the temple on Brean Down. Iron Age sites on the Quantock Hills, include major hill forts at Dowsborough and Ruborough, as well as smaller earthwork enclosures, such as Trendle Ring, Elworthy Barrows and Plainsfield Camp.
Somerset was part of the Roman Empire from 47 AD to about 409 AD. However, the end was not abrupt and elements of Romanitas lingered on for perhaps a century.
Somerset was invaded from the south-east by the Second Legion Augusta, under the future emperor Vespasian. The hillforts of the Durotriges at Ham Hill and Cadbury Castle were captured. Ham Hill probably had a temporary Roman occupation. The massacre at Cadbury Castle seems to have been associated with the later Boudiccan Revolt of 60–61 AD. The county remained part of the Roman Empire until around 409 AD.
The Roman invasion, and possibly the preceding period of involvement in the internal affairs of the south of England, was inspired in part by the potential of the Mendip Hills. A great deal of the attraction of the lead mines may have been the potential for the extraction of silver.
Forts were set up at Bath and Ilchester. The lead and silver mines at Charterhouse in the Mendip Hills were run by the military. The Romans established a defensive boundary along the new military road known the Fosse Way (from the Latin fossa meaning ditch). The Fosse Way ran through Bath, Shepton Mallet, Ilchester and south-west towards Axminster. The road from Dorchester ran through Yeovil to meet the Fosse Way at Ilchester. Small towns and trading ports were set up, such as Camerton and Combwich. The larger towns decayed in the latter part of the period, though the smaller ones appear to have decayed less. In the latter part of the period, Ilchester seems to have been a "civitas" capital and Bath may also have been one. Particularly to the east of the River Parrett, villas were constructed. However, only a few Roman sites have been found to the west of the river. The villas have produced important mosaics and artifacts. Cemeteries have been found outside the Roman towns of Somerset and by Roman temples such as that at Lamyatt. Romano-British farming settlements, such as those at Catsgore and Sigwells, have been found in Somerset. There was salt production on the Somerset Levels near Highbridge and quarrying took place near Bath, where the Roman Baths gave their name to Bath.
Excavations carried out before the flooding of Chew Valley Lake also uncovered Roman remains, indicating agricultural and industrial activity from the second half of the 1st century until the 3rd century AD. The finds included a moderately large villa at Chew Park, where wooden writing tablets (the first in the UK) with ink writing were found. There is also evidence from the Pagans Hill Roman Temple at Chew Stoke. In October 2001 the West Bagborough Hoard of 4th century Roman silver was discovered in West Bagborough. The 681 coins included two denarii from the early 2nd century and 8 Miliarense and 671 Siliqua all dating to the period AD 337 – 367. The majority were struck in the reigns of emperors Constantius II and Julian and derive from a range of mints including Arles and Lyons in France, Trier in Germany and Rome.
In April 2010, the Frome Hoard, one of the largest-ever hoards of Roman coins discovered in Britain, was found by a metal detectorist. The hoard of 52,500 coins dated from the 3rd century AD and was found buried in a field near Frome, in a jar 14 inches (36 cm) below the surface. The coins were excavated by archaeologists from the Portable Antiquities Scheme.
This is the period from about 409 AD to the start of Saxon political control, which was mainly in the late 7th century, though they are said to have captured the Bath area in 577 AD. Initially the Britons of Somerset seem to have continued much as under the Romans but without the imperial taxation and markets. There was then a period of civil war in Britain though it is not known how this affected Somerset. The Western Wandsdyke may have been constructed in this period but archaeological data shows that it was probably built during the 5th or 6th century. This area became the border between the Romano-British Celts and the West Saxons following the Battle of Deorham in 577 AD. The ditch is on the north side, so presumably it was used by the Celts as a defence against Saxons encroaching from the upper Thames Valley. According to the Anglo-Saxon Chronicle, the Saxon Cenwalh achieved a breakthrough against the British Celtic tribes, with victories at Bradford-on-Avon (in the Avon Gap in the Wansdyke) in 652 AD, and further south at the Battle of Peonnum (at Penselwood) in 658 AD, followed by an advance west through the Polden Hills to the River Parrett.
The Saxon advance from the east seems to have been halted by battles between the British and Saxons, for example; at the siege of Badon Mons Badonicus (which may have been in the Bath region e.g. at Solsbury Hill), or Bathampton Down. During the 5th, 6th and 7th centuries, Somerset was probably partly in the Kingdom of Dumnonia, partly in the land of the Durotriges and partly in that of the Dobunni. The boundaries between these is largely unknown, but may have been similar to those in the Iron Age. Various "tyrants" seem to have controlled territories from reoccupied hill forts. There is evidence of an elite at hill forts such as Cadbury Castle and Cadbury Camp; for example, there is imported pottery. Cemeteries are an important source of evidence for the period and large ones have been found in Somerset, such as that at Cannington, which was used from the Roman to the Saxon period. The towns of Somerset seem to have been little used during that period but there continued to be farming on the villa sites and at the Romano-British villages.
There may have been effects from plague and volcanic eruption during this period as well as marine transgression into the Levels.
The language spoken during this period is thought to be Southwestern Brythonic, but only one or two inscribed stones survive in Somerset from this period. However, a couple of curse tablets found in the baths at Bath may be in this language. Some place names in Somerset seem to be Celtic in origin and may be from this period or earlier, e.g. Tarnock. Some river names, such as Parrett, may be Celtic or pre-Celtic. The religion of the people of Somerset in this period is thought to be Christian but it was isolated from Rome until after the Council of Hertford in 673 AD when Aldhelm was asked to write a letter to Geraint of Dumnonia and his bishops. Some church sites in Somerset are thought to date from this period, e.g., Llantokay Street.
Most of what is known of the history of this period comes from Gildas's On the Ruin of Britain, which is thought to have been written in Durotrigan territory, possibly at Glastonbury.
The earliest fortification of Taunton started for King Ine of Wessex and Æthelburg, in or about the year 710 AD. However, according to the Anglo-Saxon Chronicle this was destroyed 12 years later.
This is the period from the late 7th century (for most of Somerset) to 1066, though for part of the 10th and 11th centuries England was under Danish control. Somerset, like Dorset to the south, held the West Saxon advance from Wiltshire/Hampshire back for over a century, remaining a frontier between the Saxons and the Romano-British Celts.
The Saxons conquered Bath following the Battle of Deorham in 577, and the border was probably established along the line of the Wansdyke to the north of the Mendip Hills. Then Cenwalh of Wessex broke through at Bradford-on-Avon in 652, and the Battle of Peonnum possibly at Penselwood in 658, advancing west through the Polden Hills to the River Parrett. In 661 the Saxons may have advanced into what is now Devon as a result of a battle fought at Postesburh, possibly Posbury near Crediton.
Then in the period 681–85 Centwine of Wessex conquered King Cadwaladr and "advanced as far as the sea", but it is not clear where this was. It is assumed that the Saxons occupied the rest of Somerset about this time. The Saxon rule was consolidated under King Ine, who established a fort at Taunton, demolished by his wife in 722. It is sometimes said that he built palaces at Somerton and South Petherton but this does not seem to be the case. He fought against Geraint in 710. In 705 the diocese of Sherborne was formed, taking in Wessex west of Selwood. Saxon kings granted land in Somerset by charter from the 7th century onward. The way and extent to which the Britons survived under the Saxons is a debatable matter. However, King Ine's laws make provision for Britons. Somerset originally formed part of Wessex and latter became a separate "shire". Somersetshire seems to have been formed within Wessex during the 8th century though it is not recorded as a name until later. Mints were set up at times in various places in Somerset in the Saxon period, e.g., Watchet.
Somerset played an important part in defeating the spread of the Danes in the 9th century. The Anglo-Saxon Chronicle records that in 845 Alderman Eanwulf, with the men of Somersetshire (Sumorsǣte), and Bishop Ealstan, and Alderman Osric, with the men of Dorsetshire, conquered the Danish army at the mouth of the Parret. This was the first known use of the name Somersæte. The Anglo-Saxon Chronicle reports that in January 878 the King Alfred the Great fled into the marshes of Somerset from the Viking's invasion and made a fort at Athelney. From the fort Alfred was able to organize a resistance using the local militias from Somerset, Wiltshire and Hampshire.
Viking raids took place for instance in 987 and 997 at Watchet and the Battle of Cynwit. King Alfred was driven to seek refuge from the Danes at Athelney before defeating them at the Battle of Ethandun in 878, usually considered to be near Edington, Wiltshire, but possibly the village of Edington in Somerset. Alfred established a series of forts and lookout posts linked by a military road, or Herepath, so his army could cover Viking movements at sea. The Herepath has a characteristic form which is familiar on the Quantocks: a regulation 20 m wide track between avenues of trees growing from hedge laying embankments. The Herepath ran from the ford on the River Parrett at Combwich, past Cannington hill fort to Over Stowey, where it climbed the Quantocks along the line of the current Stowey road, to Crowcombe Park Gate. Then it went south along the ridge, to Triscombe Stone. One branch may have led past Lydeard Hill and Buncombe Hill, back to Alfred's base at Athelney. The main branch descended the hills at Triscombe, then along the avenue to Red Post Cross, and west to the Brendon Hills and Exmoor. A peace treaty with the Danes was signed at Wedmore and the Danish king Guthrum the Old was baptised at Aller. Burhs (fortified places) had been set up by 919, such as Lyng. The Alfred Jewel, an object about 2.5 inch long, made of filigree gold, cloisonné-enamelled and with a rock crystal covering, was found in 1693 at Petherton Park, North Petherton. Believed to have been owned by Alfred the Great it is thought to have been the handle for a pointer that would have fit into the hole at its base and been used while reading a book.
Monasteries and minster churches were set up all over Somerset, with daughter churches from the minsters in manors. There was a royal palace at Cheddar, which was used at times in the 10th century to host the Witenagemot, and there is likely to have been a "central place" at Somerton, Bath, Glastonbury and Frome since the kings visited them. The towns of Somerset seem to have been in occupation in this period though evidence for this is limited because of subsequent buildings on top of remains from this period. Agriculture flourished in this period, with a re-organisation into centralised villages in the latter part in the east of the county.
In the period before the Norman Conquest, Somerset came under the control of Godwin, Earl of Wessex, and his family. There seems to have been some Danish settlement at Thurloxton and Spaxton, judging from the place-names. After the Norman Conquest, the county was divided into 700 fiefs, and large areas were owned by the crown, with fortifications such as Dunster Castle used for control and defence.
This period of Somerset's history is well documented, for example in the Anglo-Saxon Chronicle and Asser's Life of Alfred.
This is the period from 1066 to around 1500. Following the defeat of the Saxons by the Normans in 1066, various castles were set up in Somerset by the new lords such as that at Dunster, and the manors was awarded to followers of William the Conqueror such as William de Moyon and Walter of Douai. Somerset does not seem to have played much part in the civil war in King Stephen's time, but Somerset lords were main players in the murder of Thomas Becket.
A good picture of the county in 1086 is given by Domesday Book, though there is some difficulty in identifying the various places since the hundreds are not specified. The total population given for the county, which had different boundaries to those today, was 13,399, however this only included the heads of households, so with their families this may have been around 67,000. Farming seems to have prospered for the next three centuries but was severely hit by the Black Death which in 1348 arrived in Dorset and quickly spread through Somerset, causing widespread mortality, perhaps as much as 50% in places. It re-occurred, resulting in a change in feudal practices since the manpower was no longer so available.
Reclamation of land from marsh in the Somerset Levels increased, largely under monastic influence. Crafts and industries also flourished, the Somerset woollen industry being one of the largest in England at this time. "New towns" were founded in this period in Somerset, i.e. Newport, but were not successful. Coal mining on the Mendips was an important source of wealth while quarrying also took place, an example is near Bath.
The towns grew, again often by monastic instigation, during this period and fairs were started. The church was very powerful at this period, particularly Glastonbury Abbey. After their church burnt down, the monks there "discovered" the tomb of "King Arthur" and were able rebuild their church. There were over 20 monasteries in Somerset at this period including the priory at Hinton Charterhouse which was founded in 1232 by Ela, Countess of Salisbury who also founded Lacock Abbey. Many parish churches were re-built in this period. Between 1107 and 1129 William Giffard the Chancellor of King Henry I, converted the bishop's hall in Taunton into Taunton Castle. Bridgwater Castle was built in 1202 by William Brewer. It passed to the king in 1233 and in 1245 repairs were ordered to its motte and towers. During the 11th century Second Barons' War against Henry III, Bridgwater was held by the barons against the King. In the English Civil War the town and the castle were held by the Royalists under Colonel Sir Francis Wyndham. Eventually, with many buildings destroyed in the town, the castle and its valuable contents were surrendered to the Parliamentarians. The castle itself was deliberately destroyed in 1645.
During the Middle Ages sheep farming for the wool trade came to dominate the economy of Exmoor. The wool was spun into thread on isolated farms and collected by merchants to be woven, fulled, dyed and finished in thriving towns such as Dunster. The land started to be enclosed and from the 17th century onwards larger estates developed, leading to establishment of areas of large regular shaped fields. During this period a Royal Forest and hunting ground was established, administered by the Warden. The Royal Forest was sold off in 1818.
In the medieval period the River Parrett was used to transport Hamstone from the quarry at Ham Hill, Bridgwater was part of the Port of Bristol until the Port of Bridgwater was created in 1348, covering 80 miles (130 km) of the Somerset coast line, from the Devon border to the mouth of the River Axe. Historically, the main port on the river was at Bridgwater; the river being bridged at this point, with the first bridge being constructed in 1200 AD. Quays were built in 1424; with another quay, the Langport slip, being built in 1488 upstream of the Town Bridge. A Customs House was sited at Bridgwater, on West Quay; and a dry dock, launching slips and a boat yard on East Quay. The river was navigable, with care, to Bridgwater Town Bridge by 400 to 500 tonnes (440 to 550 tons) vessels. By trans-shipping into barges at the Town Bridge the Parrett was navigable as far as Langport and (via the River Yeo) to Ilchester.
This is the period from around 1500 to 1800. In the 1530s, the monasteries were dissolved and their lands bought from the king by various important families in Somerset. By 1539, Glastonbury Abbey was the only monastery left, its abbot Richard Whiting was then arrested and executed on the orders of Thomas Cromwell. From the Tudor to the Georgian times, farming specialised and techniques improved, leading to increases in population, although no new towns seem to have been founded. Large country houses such as at Hinton St George and Montacute House were built at this time.
The Bristol Channel floods of 1607 are believed to have affected large parts of the Somerset Levels with flooding up to 8 feet (2 m) above sea level. In 1625, a House of Correction was established in Shepton Mallet and, today, HMP Shepton Mallet is England's oldest prison still in use.
During the English Civil War, Somerset was largely Parliamentarian, although Dunster was a Royalist stronghold. The county was the site of important battles between the Royalists and the Parliamentarians, notably the Battle of Lansdowne in 1643 and the Battle of Langport in 1645. The castle changed hands several times during 1642–45 along with the town. During the Siege of Taunton it was defended by Robert Blake, from July 1644 to July 1645. This war resulted in castles being destroyed to prevent their re-use.
In 1685, the Duke of Monmouth led the Monmouth Rebellion in which Somerset people fought against James II. The rebels landed at Lyme Regis and travelled north hoping to capture Bristol and Bath, puritan soldiers damaged the west front of Wells Cathedral, tore lead from the roof to make bullets, broke the windows, smashed the organ and the furnishings, and for a time stabled their horses in the nave. They were defeated in the Battle of Sedgemoor at Westonzoyland, the last battle fought on English soil. The Bloody Assizes which followed saw the losers being sentenced to death or transportation.
The Society of Friends established itself in Street in the mid-17th century, and among the close-knit group of Quaker families were the Clarks: Cyrus started a business in sheepskin rugs, later joined by his brother James, who introduced the production of woollen slippers and, later, boots and shoes. C&J Clark still has its headquarters in Street, but shoes are no longer manufactured there. Instead, in 1993, redundant factory buildings were converted to form Clarks Village, the first purpose-built factory outlet in the United Kingdom.
The 18th century was largely one of peace and declining industrial prosperity in Somerset. The Industrial Revolution in the Midlands and Northern England spelt the end for most of Somerset's cottage industries. However, farming continued to flourish, with the Bath and West of England Agricultural Society being founded in 1777 to improve methods. John Billingsley conducted a survey of the county's agriculture in 1795 but found that methods could still be improved.
Arthur Wellesley took his title, Duke of Wellington from the town of Wellington. He is commemorated on a nearby hill with a large, spotlit obelisk, known as the Wellington Monument.
In north Somerset, mining in the Somerset coalfield was an important industry, and in an effort to reduce the cost of transporting the coal the Somerset Coal Canal was built; part of it was later converted into a railway. Other canals included the Bridgwater and Taunton Canal, Westport Canal, Grand Western Canal, Glastonbury Canal and Chard Canal.[9] The Dorset and Somerset Canal was proposed, but very little of it was ever constructed.
The 19th century saw improvements to Somerset's roads with the introduction of turnpikes and the building of canals and railways. The usefulness of the canals was short-lived, though they have now been restored for recreation. The railways were nationalised after the Second World War, but continued until 1965, when smaller lines were scrapped; two were transferred back to private ownership as "heritage" lines.
In 1889, Somerset County Council was created, replacing the administrative functions of the Quarter Sessions.
The population of Somerset has continued to grow since 1800, when it was 274,000, particularly in the seaside towns such as Weston-super-Mare. Some population decline occurred earlier in the period in the villages, but this has now been reversed, and by 1951 the population of Somerset was 551,000.
Chard claims to be the birthplace of powered flight, as it was here in 1848 that the Victorian aeronautical pioneer John Stringfellow first demonstrated that engine-powered flight was possible through his work on the Aerial Steam Carriage. North Petherton was the first town in England (and one of the few ever) to be lit by acetylene gas lighting, supplied by the North Petherton Rosco Acetylene Company. Street lights were provided in 1906. Acetylene was replaced in 1931 by coal gas produced in Bridgwater, as well as by the provision of an electricity supply.
Around the 1860s, at the height of the iron and steel era, a pier and a deep-water dock were built, at Portishead, by the Bristol & Portishead Pier and Railway to accommodate the large ships that had difficulty in reaching Bristol Harbour. The Portishead power stations were coal-fed power stations built next to the dock. Construction work started on Portishead "A" power station in 1926. It began generating electricity in 1929 for the Bristol Corporation's Electricity Department. In 1951, Albright and Wilson built a chemical works on the opposite side of the dock from the power stations. The chemical works produced white phosphorus from phosphate rock imported, through the docks, into the UK. The onset of new generating capacity at Pembroke (oil-fired) and Didcot (coal-fired) in the mid-1970s brought about the closure of the older, less efficient "A" Station. The newer of the two power stations ("B" Station) was converted to burn oil when the Somerset coalfields closed. Industrial activities ceased in the dock with the closure of the power stations. The Port of Bristol Authority finally closed the dock in 1992, and it has now been developed into a marina and residential area.
During the First World War hundreds of Somerset soldiers were killed, and war memorials were put up in most of the towns and villages; only a few villages escaped casualties. There were also casualties – though much fewer – during the Second World War, who were added to the memorials. The county was a base for troops preparing for the 1944 D-Day landings, and some Somerset hospitals still date partly from that time. The Royal Ordnance Factory ROF Bridgwater was constructed early in World War II for the Ministry of Supply. It was designed as an Explosive ROF, to produce RDX, which was then a new experimental high-explosive. It obtained water supplies from two sources via the Somerset Levels: the artificial Huntspill River which was dug during the construction of the factory and also from the King's Sedgemoor Drain, which was widened at the same time. The Taunton Stop Line was set up to resist a potential German invasion, and the remains of its pill boxes can still be seen, as well as others along the coast. A decoy town was constructed on Black Down, intended to represent the blazing lights of a town which had neglected to follow the black-out regulations. Sites in the county housed Prisoner of War camps including: Norton Fitzwarren, Barwick, Brockley, Goathurst and Wells. Various airfields were built or converted from civilian use including: RNAS Charlton Horethorne (HMS Heron II), RAF Weston-super-Mare, RNAS Yeovilton (HMS Heron), Yeovil/Westland Airport, RAF Weston Zoyland, RAF Merryfield, RAF Culmhead and RAF Charmy Down.
Exmoor was one of the first British National Parks, designated in 1954, under the 1949 National Parks and Access to the Countryside Act. and is named after its main river. It was expanded in 1991 and in 1993 Exmoor was designated as an Environmentally Sensitive Area. The Quantock Hills were designated as an Area of Outstanding Natural Beauty (AONB) in 1956, the first such designation in England under the National Parks and Access to the Countryside Act 1949. The Mendip Hills followed with AONB designation in 1972.
Hinkley Point A nuclear power station was a Magnox power station constructed between 1957 and 1962 and operating until ceasing generation in 2000. Hinkley Point B is an Advanced Gas-cooled Reactor (AGR) which was designed to generate 1250 MW of electricity (MWe). Construction of Hinkley Point B started in 1967. In September 2008 it was announced, by Électricité de France (EDF), that a third, twin-unit European Pressurised Reactor (EPR) power station known as Hinkley Point C is planned, to replace Hinkley Point B which was due for closure in 2016, but has now has its life extended until 2022.
Somerset today has only two small cities, Bath and Wells, and only small towns in comparison with other areas of England. Tourism is a major source of employment along the coast, and in Bath and Cheddar for example. Other attractions include Exmoor, West Somerset Railway, Haynes Motor Museum and the Fleet Air Arm Museum as well as the churches and the various National Trust and English Heritage properties in Somerset.
Agriculture continues to be a major business, if no longer a major employer because of mechanisation. Light industries take place in towns such as Bridgwater and Yeovil. The towns of Taunton and Shepton Mallet manufacture cider, although the number of apple orchards has reduced.
In the late 19th century the boundaries of Somerset were slightly altered, but the main change came in 1974 when the county of Avon was set up. The northern part of Somerset was removed from the administrative control of Somerset County Council. On abolition of the county of Avon in 1996, these areas became separate administrative authorities, "North Somerset" and "Bath and North East Somerset". The Department for Communities and Local Government was considering a proposal by Somerset County Council to change Somerset's administrative structure by abolishing the five districts to create a Somerset unitary authority. The changes were planned to be implemented no later than 1 April 2009. However, support for the county council's bid was not guaranteed and opposition among the district council and local population was strong; 82% of people responding to a referendum organised by the five district councils rejected the proposals. It was confirmed in July 2007 that the government had rejected the proposals for unitary authorities in Somerset, and that the present two-tier arrangements of Somerset County Council and the district councils will remain.
Grecia representing Mexico at the closing ceremony at the 24th World Scout Jamboree on Thursday, August 1, 2019. Check out other photos and videos at bit.ly/WSJ2019
(Photo by Preston Power)
Le bâtiment représente un chapiteau hexagonal traversé par trois galeries de 80m de long, 7m de haut et 15m de largeur, et une flèche centrale qui culmine à 77m, en référence à l'année d'inauguration du Centre Pompidou à Paris en 1977. Les trois galeries sont orientés vers la cathédrale, vers la gare, ou encore vers le pars de la Seille. La charpente est un assemblage de plus de 16 kilomètres de poutres en épicés recouverte d'un alliage de fibre de verre et de téflon.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Moselle (57)
Ville : Metz (57000)
Quartier : Amphithéatre
Adresse : 1, parvis des Droits de l'Homme
Fonction : Musée
Construction : 2006 → 2010
Ouverture : 12 mai 2010
• Architecte : Shigeru Ban / Jean de Gastines
• Gros œuvre : Groupe Demathieu Bard
PC n° 57 463 05 X0133 délivré le 22 septembre 2005
PC modificatif n° 57 463 05 X0133 M1 délivré le 12 mars 2008
Niveaux : R+3
Hauteur toiture : 37.00 m
Hauteur flèche : 77.00 m
SHON : 11 167 m²
SHOB : 10 000 m²
Surface du terrain : 60 527 m²
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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
Mémoire2cité - A l'état initiale MONTREYNAUD devait etre Gigantesque , le projet complet ne çe fera pas ^^ c'etait la même chose pour Bergson du gigantisme à tout va , le saviez vous? moi oui ;) La tour plein ciel à Montreynaud va être détruite jeudi. Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk
À partir de l’analyse de la trajectoire des perceptions de la tour Plein-Ciel à Saint-Étienne, Rachid Kaddour montre que certaines tours de grands ensembles peuvent faire l’objet d’un système de représentations plus complexes que celui, dévalorisant, présenté dans les discours de légitimation de la rénovation urbaine. L’image de la tour est en France encore fortement attachée à celle du logement populaire, du fait notamment de la présence de ce type d’édifice dans les grands ensembles. Or, si l’on parle des tours d’habitat populaire depuis 2003, c’est essentiellement à propos des démolitions : l’Agence nationale pour la rénovation urbaine (ANRU) incite les bailleurs à détruire prioritairement dans les zones urbaines sensibles les immeubles les plus imposants, dont les tours les plus hautes. Mais l’image négative du « problème des banlieues » et de ses dysfonctionnements est-elle la seule associée aux tours d’habitat populaire ? Ne tend-elle pas à laisser dans l’ombre d’autres représentations attachées à ces édifices ?
Une réflexion sur la tour Plein-Ciel à Saint-Étienne est, sur ces points, riche d’enseignements. Tenant une place prépondérante dans le paysage stéphanois, emblématique de l’image des grands ensembles, cette tour édifiée en 1972 est démolie en 2011. La constitution et l’analyse d’un corpus d’une dizaine d’images promotionnelles et artistiques (films, photographies de communication) la mettant en scène permet d’en établir une chronique. Cette dernière met en évidence un système de représentations complexe : tout au long de ses quarante ans d’histoire, l’édifice est en effet perçu comme symbole de modernité, emblème de grand ensemble en difficulté et monument dans le paysage stéphanois. Ces deux dernières représentations, l’une stigmatisée, l’autre valorisée, coexistent même lors des dernières années de la vie de l’édifice. Dans toutes ces représentations différenciées et concurrentes, la verticalité de l’édifice tient un rôle essentiel.
Acte 1 : la tour Plein-Ciel, symbole de modernité
L’image la plus ancienne identifiée date de 1970. Il s’agit d’un cliché de la maquette de la zone à urbaniser en priorité (ZUP) de Montreynaud, pris sur le stand de l’exposition « Saint-Étienne demain » de la Foire économique. Cette exposition vante les grandes opérations d’urbanisme en cours dans la ville, et vise à montrer « les transformations de la cité et son nouveau visage », afin de rompre avec la « légende de ville noire, industrielle et fixée dans le XIXe siècle » [1]. L’exposition fait partie d’une communication orchestrée par le maire Michel Durafour (1964‑1977). À partir de 1973, les reportages photographiques ou les films [2] mettent à l’honneur Montreynaud (jusqu’à 4 400 logements prévus) et en particulier sa tour Plein-Ciel (par l’architecte Raymond Martin), avec sa verticalité (18 niveaux), le château d’eau qui la coiffe et sa situation en rupture avec la ville ancienne. À Saint-Étienne comme ailleurs, les raisons de la réalisation de constructions si modernes durant les Trente Glorieuses relèvent en partie de la réponse donnée à la crise du logement et de la réorganisation industrielle du pays (fixation de la main-d’œuvre, industrialisation du BTP). Mais il faut aussi y voir la traduction physique d’un projet sociopolitique moderne porté par un État centralisateur et des pouvoirs publics puissants (Tomas et al. 2003 ; Dufaux et Fourcaut 2004 ; Veschambre 2011). Le pays est alors dans une période où les aspirations et idéologies portent vers la construction d’une nouvelle ère urbaine, avec ses ambitions (le bien-être, l’hygiène…), et en rupture avec les difficultés d’alors (le taudis, la maladie, l’individualisme…). Le logement, jusqu’ici inconfortable et insuffisant, devient l’un des axes majeurs d’intervention : plus de huit millions d’unités sont construites durant la période.
La forme de ces logements se doit d’être aussi moderne que le projet. De grands noms et une nouvelle génération d’architectes sont mobilisés. Ceux-ci dessinent des formes géométriques épurées et, dans les opérations importantes, les évolutions techniques leur permettent de multiplier les signaux que sont les longues barres ou hautes tours autour desquelles se structurent les autres immeubles.
Saint-Étienne, ville industrielle durement frappée par la crise du logement, est exemplaire du mouvement. Les grands ensembles s’y multiplient. Implantés sur des sommets de collines aux entrées de la ville, ils doivent signifier le renouveau. Montreynaud, « nouvelle petite ville à part entière » [3], joue de ce point de vue un rôle clé. Sa tour, en sommet de colline et dont le château d’eau est illuminé la nuit, en est l’emblème, un « symbole de la modernité » [4]. La tour doit son nom au fait de proposer « des appartements en plein-ciel » [5], et l’on peut voir dans cette dénomination une valorisation de la verticalité, à la fois comme source d’oxygène et de lumière, mais aussi comme signal urbain.
Acte 2 : la tour Plein-Ciel, symbole d’un grand ensemble en difficulté
Si l’on classe chronologiquement le corpus d’images identifiées, la tour Plein-Ciel ressurgit significativement dans les champs de la communication institutionnelle et des arts au tournant des années 2000‑2010. Dans la littérature, l’intrigue de la saga Les Sauvages de Sabri Louatah débute à Saint-Étienne, et la tour Plein-Ciel en est un cadre important :
« La tour Plein-Ciel se dressait avec une majesté sinistre au sommet de la colline de Montreynaud […]. À l’aube du XXIe siècle, sa démolition avait été plébiscitée par les riverains […]. La célèbre tour au bol était visible depuis la gare en arrivant de Lyon, et beaucoup de Stéphanois la considéraient […] comme le point doublement culminant de la ville : du haut de ses soixante-quatre mètres qui dominaient les six autres collines mais aussi en tant qu’emblème, d’un désastre urbain éclatant et d’une ville résignée à la désindustrialisation » (Louatah 2011, p. 89).
Cette description exprime bien la situation dans laquelle la tour se trouve à la rédaction du roman : en attente de démolition. En 2011, les photographies de Pierre Grasset (voir un exemple ci-dessous), missionné par la ville, montrent l’édifice moribond. Comment la tour Plein-Ciel a-t-elle pu passer de symbole de modernité à « emblème d’un désastre urbain » condamné à la démolition ? Tout d’abord, une partie des équipements de la ZUP et la moitié seulement des logements sont réalisés, du fait de prévisions démographiques non atteintes (Vant 1981 ; Tomas et al. 2003). L’inachèvement accentue les désagréments de la situation à six kilomètres du centre, derrière des infrastructures lourdes. Ensuite, tout au long des années 1980 et 1990, la population de Montreynaud se paupérise (départ des plus aisés vers la propriété, montée du chômage) et « s’ethnicise », avec pour effet, suivant des mécanismes analysés ailleurs (Tissot 2003 ; Masclet 2005), que le regard porté sur elle change : dans les discours politiques et la presse, Montreynaud acquiert l’image d’un quartier dangereux. Dès lors, le quartier entre dans les réhabilitations puis la rénovation [6], mais sans effet important sur la vacance, la pauvreté, l’échec scolaire, la délinquance ou les discriminations. Pour de nombreux Stéphanois, il devient un « là‑haut » [7] relégué.
La tour devient le symptôme visible de cette dégradation. Des rumeurs se diffusent dès les années 1970 sur sa stabilité et l’isolation du château d’eau [8]. Dix ans après sa livraison, seuls 50 des 90 appartements sont vendus. Cette vacance conduit à l’aménagement d’un « foyer de logements » pour personnes dépendantes psychiatriques qui accentue l’image d’un quartier de relégation. La gestion difficile du foyer et les problèmes financiers d’une partie des propriétaires amènent à classer la copropriété comme « fragile » en 2002. Une étude indique que la démolition « aurait un impact positif sur la requalification du parc de logements du quartier et permettrait également de promouvoir un changement d’image du site » [9]. Le dernier habitant est relogé fin 2008.
Acte 3 : la tour Plein-Ciel, monument symbole de Saint-Étienne
D’autres images du corpus indiquent toutefois que, à partir des années 2000, l’image stigmatisée de la tour Plein-Ciel comme emblème d’un grand ensemble en difficulté entre en tension avec une autre image plus valorisante d’édifice symbole de Saint-Étienne. En en faisant l’un des théâtres stéphanois de sa saga, Sabri Louatah reconnaît à la tour Plein-Ciel une place particulière dans la ville. Cette représentation se retrouve, de manière beaucoup plus consciente et militante, dans d’autres productions artistiques durant les années 2000. La tour est notamment représentée sur les affiches du festival Gaga Jazz. Si le festival se veut d’ampleur régionale, son nom montre un ancrage stéphanois – le « gaga » désigne le parler local. Le choix d’identité visuelle va dans le même sens : il s’agit « d’utiliser l’image d’un bâtiment symbole à Saint-Étienne » [10]. Pour les graphistes, la tour s’impose, parce qu’elle est « un monument connu de tous les Stéphanois ». Un monument qui a les honneurs d’une carte postale en 1987 [11], et qui, comme il se doit, est abondamment photographié. Jacques Prud’homme, par exemple, la montre sur plusieurs sténopés visibles sur son blog [12]. Pour lui aussi, la tour est l’un des « symboles de Saint-Étienne ». Pourquoi la tour Plein-Ciel a-t-elle pu être ainsi considérée comme « un monument ancré dans le paysage stéphanois » [13] ? La combinaison peut-être unique en France d’une tour d’habitation à un château d’eau en fait un édifice singulier. Couplée avec son implantation en sommet de colline, cette singularité fait de la tour un point de repère important pour les Stéphanois, mais aussi pour les nombreux supporters de l’AS Saint-Étienne qui se rendent au stade, dont elle est voisine. D’ailleurs, la tour est utilisée comme édifice emblème de la ville sur au moins un autocollant et un tifo de supporters, aux côtés des symboles miniers (chevalement, « crassiers ») et du stade Geoffroy-Guichard.
Cette représentation faisant de la tour un « monument » aurait pu sauver l’édifice, suivant un mécanisme, classique dans l’histoire du patrimoine, de défense devant une menace de démolition. De nombreux Stéphanois réagissent, et, pour l’association Gaga Jazz, « les affiches et flyers invitant les Stéphanois aux concerts de jazz font aussi office d’actes de revendication pour la conservation ». La nouvelle équipe municipale socialiste de Maurice Vincent, élue en 2008, reconnaît que la tour « représente un symbole » [14]. Elle soumet en 2010 au vote des habitants de Montreynaud deux possibilités : développer la valeur et la fonction de repère de la tour en la transformant en « symbole artistique de la ville de Saint-Étienne » [15] via l’intervention d’un plasticien, ou bien la démolir et aménager un parc : 71 % des votants se prononcent pour la démolition, soit 230 personnes sur les 318 votants. Les défenseurs de la conservation expriment un double regret : l’ouverture du vote aux seuls habitants de Montreynaud, et la très faible mobilisation de ces derniers.
La démolition de la tour a lieu le 24 novembre 2011. Son foudroyage la met une dernière fois sous les projecteurs des nombreux appareils audiovisuels présents. Les images produites s’ajoutent à celles existantes, et constituent autant de traces d’un immeuble dont il n’en reste plus aucune sur le terrain.
Cette fin dramatique donne à cette chronique des allures de représentation théâtrale, en trois actes : naissance puis mort de l’édifice, avec un ultime soubresaut sous la forme d’une tentative vaine de sauvetage au nom du patrimoine. C’est une troisième définition du terme de représentation qui est mobilisée dans cette conclusion. Ce sont en effet des représentations, en images et en mots, qui ont permis de constituer cette chronique de la tour. Cette dernière révèle que trois représentations mentales sont associées à l’édifice et à sa verticalité : pour la puissance publique ayant commandé sa réalisation et pour les premiers résidents, la tour est un symbole de modernité ; pour une partie des Stéphanois, mais aussi pour les acteurs ayant décidé sa démolition, elle est l’emblème d’un grand ensemble stigmatisé ; et enfin, pour d’autres Stéphanois, habitants de Montreynaud ou artistes entre autres, la tour est un objet phare et patrimonial dans le paysage de Saint-Étienne.
Aux côtés, par exemple, de la Tour panoramique à la Duchère (à Lyon), qui a été profondément rénovée, cette mise en évidence de la trajectoire des perceptions de la tour Plein-Ciel permet d’expliciter que la verticalité dont nos villes ont hérité, tout du moins celle présente dans les grands ensembles, fait l’objet d’un système de représentations complexe et en tout cas plus varié que celui présenté dans les discours de légitimation de la rénovation urbaine.
Bibliographie Dufaux, F. et Fourcaut A. (dir.). 2004. Le Monde des grands ensembles, Paris : Créaphis.
Louatah, S. 2011. Les Sauvages, tome 1, Paris : Flammarion–Versilio. Masclet, O. 2005. « Du “bastion” au “ghetto”, le communisme municipal en butte à l’immigration », Actes de la recherche en sciences sociales, n° 159, p. 10‑25.
Tissot, S. 2003. « De l’emblème au “problème”, histoire des grands ensembles dans une ville communiste », Les Annales de la recherche urbaines, n° 93, p. 123‑129.
Tomas, F., Blanc, J.-N. et Bonilla, M. 2003. Les Grands Ensembles, une histoire qui continue, Saint-Étienne : Publications de l’université de Saint-Étienne.
Vant, A. 1981. Imagerie et urbanisation, recherches sur l’exemple stéphanois, Saint-Étienne : Centre d’études foréziennes. Veschambre, V. 2011. « La rénovation urbaine dans les grands ensembles : de la monumentalité à la banalité ? », in Iosa, I. et Gravari-Barbas, M. (dir.), Monumentalité(s) urbaine(s) aux XIXe et XXe siècles. Sens, formes et enjeux urbains, Paris : L’Harmattan, p. 193‑206.
Notes [1] Extraits tirés du film Saint-Étienne, on en parle (Atlantic Film, 1970) associé à l’exposition. [2] Dont Les grands travaux à Saint-Étienne, ville de Saint-Étienne, 1974.[3] Brochure publicitaire Montreynaud, Saint-Étienne, résidence les Hellènes, non daté. [4] Propos tenus par un habitant installé dès l’époque. [5] Brochure publicitaire Des appartements en plein-ciel. La tour de Montreynaud, non daté. [6] Avec, dans un premier temps, le grand projet de ville (GPV) en 2001, puis la convention avec l’Agence nationale pour la rénovation urbaine (ANRU) en 2005. [7] Expression régulièrement entendue lors des entretiens. 8] « Le château d’eau : mille m³ qui ne fuiront pas », La Tribune, 17 novembre 1978, p. 14. [9] Lettre d’information aux habitants de Montreynaud, ville de Saint-Étienne, mai 2003. [10] Entretien avec Damien et Sébastien Murat (DMS photo), graphistes.
[11] « Saint-Étienne – le quartier de Montreynaud », en dépôt aux archives municipales de Saint-Étienne, réf. : 2FI icono 4401. [12] Voir aussi le blog participatif 42 Yeux : 42yeux.over-blog.com/categorie-11117393.html. [13] Source : « Tour Plein-Ciel : rayonner ou s’effacer », La Tribune–Le Progrès, 4 février 2009, p. 11. [14] Propos de l’adjoint à l’urbanisme, « Tour Plein-Ciel : rayonner ou s’effacer », op. cit., p. 11.
@ FOREZ INFOS : Le 24 novembre 2011, à 10h45, le célèbre immeuble "Plein Ciel" de Montreynaud, qualifié tour à tour de tour-signal, phare de Saint-Etienne, tour de Babel et tour infernale a été foudroyé. Trois points d'observation étaient proposés pour ne rien manquer du "pestacle": rue Gounod, rue Bizet et sur le parking du centre commercial où une foule considérable s'était pressée, armée de portables et d'appareils photos pour immortaliser cet événement "exceptionnel". De nombreux policiers, pompiers, CRS et volontaires de la Sécurité Civile avaient été déployés pour sécuriser le périmètre. Au total, environ 300 personnes. Un hélicoptère survolait la colline. Un premier coup de sirène, à 10 minutes du tir, a retenti puis trois autres, brefs, et enfin le compte à rebours de cinq secondes suivi d'un grand "boom" et d'un nuage de poussière. Le chantier de démolition, confié au groupement GINGER CEBTP Démolition / Arnaud Démolition, avait débuté en juin 2010. Après la phase de désamiantage, les matériaux de l'immeuble (bois, béton, ferraille...) avaient été recyclés puis les murs porteurs affaiblis et percés pour accueillir les charges explosives. Le jour du tir, des bâches de protection avaient été disposées, ainsi que des boudins remplis d'eau pour atténuer la dispersion des poussières. A l'espace Gounod, qui accueillait les personnes évacuées dès 8h du périmètre de sécurité, la régie de quartier, l'AGEF, le collège Marc Seguin proposaient des expositions et diverses animations. L'ambiance était folklorique. Maurice Vincent, accompagné de la préfète de la Loire, Fabienne Buccio, et Pascal Martin-Gousset, Directeur Général Adjoint de l'ANRU, s'est exprimé devant un mur de graffitis haut en couleur sur lequel on pouvait lire "Morice tu vas trop loin" (sic), "Moreno en force" (sic) ou encore "Morice tu nous enlève une partie de notre enfance (sic)".
" Je suis parfaitement conscient que cette destruction renvoie à l'enfance, à la jeunesse pour certains des habitants et que ce n'est pas forcément un moment gai", a déclaré le sénateur-maire. Mais de souligner: "C'est de la responsabilité politique que j'assume que d'indiquer la direction de ce qui nous paraît être l'intérêt général."
A la place, il est prévu un espace vert avec des jeux pour enfants et un belvédère. Les premières esquisses du projet doivent être présentées au premier semestre 2012. Rappelons que les habitants du quartier - et seulement eux - avaient été invités le 27 juin 2009 à se prononcer sur le devenir de la tour. L'option de la démolition avait été retenue par 73% des 319 votants. " L'espace public à créer le sera avec la participation des usagers", soulignaient à l'époque M. Vincent et F. Pigeon, son adjoint à l'urbanisme. Ce vieux sage venu en bus, qui regrettait d'avoir manqué la démolition de la Muraille de Chine, nous avait dit simplement: " Il vaut mieux voir ça qu'un tremblement de terre." Et une jeune fille du quartier, inénarrable : " La vérité ! ça fait un trou maintenant. On dirait qu'ils nous ont enlevé une dent !"
L' architecte de l'immeuble "Plein Ciel" fut Raymond Martin, également architecte en chef de la Zone à Urbaniser en Priorité de Montreynaud/Nord-Est et Stéphanois . Celle-ci avait été créée par un arrêté ministériel le 11 mars 1966. Sur 138 hectares, afin de rééquilibrer la ville au nord et prendre le relais du grand ensemble Beaulieu-La Métare, il était prévu initialement d'y accueillir de 13 à 15 000 habitants. Le programme portait sur la création de 3300 logements dont 300 à 500 maisons individuelles. Les logements restants, collectifs, étant composés d'immeubles en copropriété et, pour les deux tiers, d'HLM. voir sur la toile d'un tifo, stade Geoffroy Guichard.
L'aménagement fut concédé fin 1967 à la Société d'Economie Mixte d'Aménagement de Saint-Etienne (SEMASET), initiée en 1963 (municipalité Fraissinette) et constituée en 1965 (municipalité Durafour). En 1970, la SEMSET ajoutait d'abord 600 logements supplémentaires. Peu à peu, le programme de la ZUP fut porté à 4400 logements. Il prévoit aussi de nombreux équipements tels que crèche et halte-garderies, gymnases, centre social et centres commerciaux, deux collèges, huit groupes scolaires. Dans un entretien accordé au Dauphiné Libéré (7 août 1967), Martin expliquait vouloir créer à Montreynaud "une sorte de petite ville agréable à habiter, plutôt qu'un quartier excentré sans âme", avec des "magasins littéralement noyés dans la verdure" et des "voitures qui rouleront sur des rampes souterraines" ! Il indiquait que les travaux allaient débuter en 68 et durer 6 six ans. " Nous commencerons par le plateau central qui comportera 1800 logements répartis dans des immeubles relativement peu élevés, la plupart de 5 ou 6 étages, et une tour pour donner la ligne verticale."
S'agit-il de LA tour ou de cet autre immeuble, baptisé "Les Héllènes" sur un prospectus de l'époque, futur "Le Palatin", près d'un forum digne de l'Atlantide ? Les travaux, en tout cas, ne débutèrent vraiment, semble-t-il, qu'en 1970 d'après un mémoire consultable aux archives municipales (fonds de l'association "Vitrine du quartier" de Montreynaud). On y lit aussi, à travers le témoignage d'un ouvrier qui travailla sur les premiers immeubles, que le premier en date aurait été la tour "Plein Ciel" elle -même. Ce qui lui vaudrait bien son appellation de "tour-signal" qu'on retrouve dans divers documents. Mais qui interroge. D'après la brochure publiée par la Ville de Saint-Etienne à l'occasion de la démolition, sa construction n'aurait démarré qu'en 1972. Le problème, c'est que s'il existe une masse considérable de documentation sur la ZUP, on a trouvé à ce jour peu de choses sur la tour elle-même, à moins d'avoir mal cherché. Elle aurait été inaugurée en 1974 par la CIVSE, le promoteur, mais sans avoir la date exacte, nos recherches dans la presse locale, au hasard, n'ont rien donné. Il y a peut-être une explication. Le château d'eau aurait été construit d'abord et les habitations ensuite.
voir les Flyers de l'association "Gaga Jazz"
Le mémoire en question précise que Montreynaud devait bénéficier d'une "révolution technologique", à savoir la construction par éléments, le préfabriqué, plus rapide et rentable, les éléments d'immeuble étant désormais construits en usine à Andrézieux... Reste que d'après François Tomas, fin 1972, 1897 logements seulement, pour n'en rester qu'aux logements, avaient été construits, et 2839 en 1977 (La création de la ZUP de Montreynaud, chronique d'un échec, in Les grands ensembles, une histoire qui continue, PUSE 2003). On renvoie le lecteur qui voudrait en savoir plus sur l'histoire de la ZUP, ses déboires, la crise économique, l'aménagement de Saint-Saens et Chabrier (1981), à cet ouvrage, à André Vant (La politique urbaine stéphanoise), aux archives, de la SEMASET notamment, et à la presse, de l'année 74 en particulier.
Ce qui nous intéresse, c'est la tour, photographiée un nombre incalculable de fois. Le mémoire, toujours (le nom de l'auteur et l'année de rédaction nous sont inconnus), évoque des rumeurs, à son sujet, dès ses premières années : "On sait que le côté spectaculaire des travaux de Montreynaud alimente les rumeurs, voire les peurs collectives.... La Tour Arc-en-Ciel (sic) s'enfonce... La vasque fuit et inonde les habitants... Face à ces bruits, certains disent que ce n'est vrai, d'autres que c'est faux et qu'il ne faut pas y croire. Mais il y a parfois des vérités intermédiaires, du moins des indices réels qui donnent à penser... Ainsi, il y a bien eu des infiltrations mais seulement à proximité des réservoirs intermédiaires à édifiés au pied de la tour. De l'eau de ruissellement risquait d'atteindre les conteneurs d'eau potable et les transformateurs électriques. La Ville assigne les entreprises en malfaçon devant le tribunal administratif de Lyon en octobre 1975. Des experts sont désignés et l'affaire se termine par un procès-verbal de conciliation prévoyant le partage des travaux de remise en état, qui s'élèvent à 66000 francs, entre l'entreprise générale et l'entreprise de maçonnerie."
voir le Graffiti, Restos du coeur, Chavanelle
Un article de 1978, paru dans La Tribune-Le Progrès, évoque le château d'eau, "cette belle oeuvre de la technique humaine (...) objet depuis sa naissance de la risée des gens". " Soixante-cinq mètres, 1000 m3 de contenance, le château d'eau de Montreynaud coiffant la tour de son dôme renversé s'élance orgueilleusement tout en haut de la colline, superbe perspective des temps modernes. Il rassemble à ses pieds, aux quatre points cardinaux le vaste océan de béton de toute la ZUP dont il est devenu un symbole face à l'agglomération stéphanoise. Le soir, illuminé, il brille tel un phare dans la nuit, accrochant les regards à plusieurs km à la ronde."
On tour, "Montreynaud la folie", sac de collégien (Terrenoire)
L'article se fait l'écho des rumeurs. On dit qu'il oscille par grand vent, géant aux pieds d'argile, que son réservoir fuit. Et l'article d'expliquer que l'oscillation (qui pour certains prendrait des allures inquiétantes) "est tout à fait normale en raison de la hauteur de l'édifice" mais que son pied est fiché à huit mètres dans un sol rocheux. Quant au réservoir, il ne fuit pas. "Si l'eau en coule parfois, c'est tout simplement de l'eau de pluie qui s'écoule paisiblement par des gargouillis". L'alimentation de la ZUP provient d'un réservoir de 10 000 m3 situé au Jardin des plantes et dont l'eau est amenée, par une conduite de 600 mm, dans des réservoirs de 2000 m3 au pied de la colline. Une station de pompage refoule ensuite l'eau au château de la tour qui alimente à son tour la ZUP. Ce château, en béton armé, n'est pas collé à la tour mais en est désolidarisé. Son fût a 3,50 mètres de tour de taille et la vasque, à laquelle on peut accéder aussi par une échelle de 300 barreaux, 21 mètres de diamètre. Par la suite, une antenne, l'antenne de M'Radio, y sera plantée. Haute d'une dizaine de mètres, elle était fixée par des haubans. Différents émetteurs d'entreprises de télécommunication viendront la rejoindre.
Concernant les appartements, dès 1974, évoquant une "psychose de la tour", Loire Matin écrit que seulement 20 logements ont trouvé preneur. " Avec les difficultés sociales qui apparaissent dans les grands ensembles au début des années 80, la commercialisation devient difficile: 40 logements restent invendus", indique la Ville de Saint-Etienne. Loire Matin encore, dans un article de 1987 - la CIVSE ayant depuis déposé le bilan - revient sur le cas de cette "tour infernale (...) droite comme un i (...) symbole de tout un quartier" et l' "une des premières visions que l'on a de Saint-Etienne". Les prix sont certes attractifs mais "de plus en plus de gens désirent, s'ils doivent acheter, posséder une maison bien à eux". Ils fuient les grands ensembles. Qui plus est au coeur d'un quartier qui jouit d'une mauvaise réputation.
voir le Projet de Marc Chopy youtu.be/OoIP7yLHOQM
Un autre article, de 1995, indique qu'une dizaine d'appartements sont en vente et qu'un F3 coûte moins de 100 000 francs. Quelques années auparavant, un nombre important d'appartements inoccupés avaient été rachetés et transformés en studios. Gérés par une SCI, ils furent loués à des personnes âgées, accompagnée par une association, "Age France", à une population en proie à des problèmes sociaux ou de santé mais dont l'état ne nécessitait pas d'hospitalisation totale. " La présence de ces locataires ne semble pas du meilleur goût aux yeux de certains copropriétaires", relevait le journaliste. On retrouve ces locataires cinq ans plus tard dans un article intitulé "Les oubliés de la tour". Une soixantaine d'hommes et de femmes "de tous âges, soit handicapés mentaux, soit physique (...) certains placés ici par l'hôpital de Saint-Jean-Bonnefonds" et secourus par le Secours catholique, vivent alors dans la tour. C'est aussi à cette époque que l'artiste Albert-Louis Chanut avait son atelier au pied de l'immeuble.
Le sort de la tour se joua dans les années 2000. A l'aube du XXIe siècle, le 30 décembre 2000, un incendie se déclare dans un de ses étages, mettant en évidence des problèmes de sécurité. De 2001 à 2003, une commission de plan de sauvegarde valide le scénario de démolition, inscrit dans la convention ANRU en avril 2005. Le rachat des logements et le relogement des locataires débute cette même année, pour s'achever en 2009. Il restait deux familles en 2008
En février 2009, lors d'un conseil municipal, l'adjoint à l'urbanisme déclarait: " La destruction de la fonction d'habitation de la tour est un point acté sur lequel nous ne reviendrons pas. Cette tour n'a plus vocation à être habitée. Cela passe donc forcément par une démolition au moins partielle. Ce principe étant posé, faut-il détruire la structure de la tour ou, au contraire, essayer de trouver une solution pour intégrer sa silhouette dans le paysage urbain ? J'ai déjà abordé la question à l'occasion d'un conseil municipal au mois de juin. Nous avions précisé que la tour de Montreynaud constitue un édifice marquant dans le paysage urbain de Saint-Etienne. C'est un point de repère pour celles et ceux qui habitent Montreynaud, mais aussi pour celles et ceux qui passent à Saint-Etienne. Elle est donc remarquée et remarquable par l'ensemble des personnes que nous côtoyons, qu'il s'agisse de simples passants, d'habitants de Saint-Etienne ou d'urbanistes de renom. Il est important de préciser que nous ne prendrons pas seuls la décision. Nous allons sans doute aboutir à deux possibilités : une destruction totale de cet édifice ou une destruction partielle. Dans tous les cas, il sera mené un travail de concertation par M. Messad, en qualité d'élu référent du quartier, et par Mme Perroux, en qualité d'adjointe sur les questions de démocratie participative. C'est donc par une consultation des habitants de Montreynaud que nous trancherons sur la base de deux projets qui seront présentés et chiffrées.Toutes ces questions seront tranchées à l'été 2009. Par ailleurs, puisque vous citez mes propos, je voudrais les contextualiser et citer M. le Maire qui était intervenu au même moment et qui disait : « Nous pensons qu'il faut imaginer, à la place de la tour, un espace qui fasse le plus grand consensus avec les habitants, qui marque une évolution, un renouvellement du quartier ». C'est là un point extrêmement important. Il n'est pas contradictoire d'envisager une mutation du quartier et que cette tour ne soit plus habitée, avec l'idée consistant à en conserver une trace sous une forme ou sous une autre, en conservant sa silhouette ou en envisageant un oeuvre d'art se substituant à cet édifice..."Implosion Tour Plein Ciel Montreynaud Saint-Etienne
www.youtube.com/watch?v=6afw_e4s1-Y - www.forez-info.com/encyclopedie/traverses/21202-on-tour-m... -
La tour Plein Ciel à Montreynaud a été démolie le jeudi 24 novembre 2011 à 10h45. youtu.be/ietu6yPB5KQ - Mascovich & la tour de Montreynaud www.youtube.com/watch?v=p7Zmwn224XE -Travaux dalle du Forum à Montreynaud Saint-Etienne www.youtube.com/watch?v=0WaFbrBEfU4 & içi www.youtube.com/watch?v=aHnT_I5dEyI - et fr3 là www.youtube.com/watch?v=hCsXNOMRWW4 -
@ LES PRESSES
St-Etienne-Montreynaud, Historique de la Zup,
1954 et 1965 : Saint-Etienne, ravagée par les bombardements de la Seconde Guerre Mondiale, et surnommée "capitale des taudis", est alors en manque de logements (50% de la population vit dans un logement de moins de 1 pièce !), tandis que sa population augmente d'année en année grâce aux activités industrielles. De ce fait, le premier projet (expérimental) de grands ensembles voit le jour : Beaulieu. Il fournit des dizaines de logements avec tout le confort moderne : c'est un succès.
En 1965, il faut toujours et encore plus de logements : le projet de la Muraille de Chine naît, avec 450 logements de créés (plus grande barre d'habitation d'Europe !). Cette barre est finalement dynamitée le 27 mai 2000 (voir vidéo sur YouTube).
Années 1970 : Saint-Etienne est toujours en manque de logements, certains des immeubles du XIXe siècle étant vétustes. Un énorme projet voit lui aussi le jour : Montreynaud, sur la colline éponyme du nord-est de la ville, encore vierge (on y chassait même !). 22 000 prsonnes peuvent alors être logées dans ces nouveaux grands ensembles. L'architecte Raymond Martin dessine les plans de la majorité des bâtiments, dont ceux de la tour Plein Ciel. La construction débute, la tour est achevée en 1972. Cette dernière surplombe désormais le bassin stéphanois du haut de ses 63 m (92 avec l'antenne). Les appartements sont plutôt grands, de nombreux cadres emménagent dedans. Néanmoins, le choc pétrolier de 1973 a un effet notoire : 45 % des logements ne sont pas vendus.
Au fil des années, le quartier prend mauvaise image, les habitants de la tour et des barres qui en ont les moyens quittent le quartier.
30 décembre 2000 : un incendie se déclare au 11e étage, les pompiers montreront par la suite certaines anomalies dans le bâtiment. La tour se dépeuple peu à peu.
2002 : première évocation de la possible démolition de la Tour, symbole du quartier, qui n'est plus rentable et vétuste.
La démolition est prévue pour 2008.
27 juin 2009 : la nouvelle municipalité décide d'un référendum auprès des habitants du quartier, pour décider de l'avenir de la Tour. De nombreux projets sont évoqués, bien sûr la démolition, mais aussi la transformation en oeuvre d'art, la création d'un restaurant panoramique et même d'un hôtel de police. 73% des personnes ayant voté décident de la démolir : le destin de la Tour Plein Ciel est désormais scellé ...
2009-2011 : la Tour est démantelée et surtout désamiantée.
24 novembre 2011 : à 10h47, la Tour Plein Ciel est foudroyée devant 1000 personnes environ (vidéo disponible sur YouTube). Elle s'effondre, avec sa célèbre coupole tout en élégance en quelques secondes. Puis, elle sert de terrain d'entraînement à 120 pompiers du département, comme lors d'un séisme. Maintenant, l'emplacement de la Tour est un espace vert.
Particularités de cette Tour :
- Visible de quasiment tout le territoire stéphanois
- Sa coupole sur le toit qui n'est ni une soucoupe volante ni un le lieu de tournage de Rencontres du 3e type ;)
Une matinée pour tourner une page, celle de quarante ans d'histoire. Une histoire pour la tour Plein Ciel et ses 18 étages perchés sur la colline de Montreynaud, à Saint-Etienne. Drôle d'histoire.
En 1970 elle est construite par l’architecte Raymond Martin comme une tour de Babel un peu pharaonique qui doit symboliser le renouveau de la ville noire. Mais l’édifice tombe rapidement en désuétude. Il faudra attendre 2009 et un référendum pour officialiser sa destruction. Des histoires pour les habitants de Montreynaud, qui pour certains sont nés et ont grandi à l’ombre de cette tour et de son château d’eau. « Un bol de couscous qui nous rappelait qu’ici c’était chez nous », témoigne joliment Sarah, agrippée au bras de son amie, qui ne cache pas son émotion alors que la tour est sur le point d’être démolie. Elles évoquent leurs souvenirs d’enfance. « Pour nous c’était plus qu’un monument. On passait tout notre temps dans cette tour quand on était petites. Le dentiste, le docteur, les chasses à l’homme… C’était aussi un point de repère, c’était le charme de Montreynaud. »
Pour Imane, 22 ans, « c’est le symbole de Montreynaud qui disparaît. Quand on était à Saint-Etienne, on se repérait grâce à la tour. C’était le seul quartier qui ait un symbole très visible. » A l’intérieur du gymnase Gounod, c’est l’effervescence. 650 personnes, habitant les bâtiments voisins, ont été évacuées le matin même. Elles regagneront leurs logements aux alentours de midi. En attendant, on boit un café, on mange des croissants, on échange sur ce qui apparaît à tous comme un « événement ». La démolition de la tour Plein Ciel n’est pas loin de concurrencer en termes de popularité une rencontre de l’ASSE, à tel point que la Ville a installé un écran géant dans le gymnase afin de savourer au plus près le spectacle. Les images sont rediffusées en boucle. Le film défile au ralenti. Celui de cette tour qui s’effondre en une poignée de secondes, laissant derrière elle un grand nuage de fumée et des tonnes de gravats.
Un pas franchi dans la rénovation urbaine du quartier
Plus loin un groupe de jeunes garçons s’emportent : « Pourquoi ils démolissent la tour, c’est pas bien ! C’est depuis qu’on est né qu’on la connaît, c’est notre emblème, notre symbole ! Elle est grande en plus, 65 m de haut ! Mais qu’est-ce qu’ils vont faire à la place ? Un parc ? Mais ils vont tout laisser pourrir. A Montreynaud, à chaque fois qu’ils mettent un parc il est pété ! ». Dans ce quartier à forte mixité sociale, où l’on ne manie pas la langue de bois, quelques rares habitants font figure d’exception, et se réjouissent : « Elle tombait en morceaux, c’était pitoyable, lâche G. Je ne comprends pas quand j’entends parler d’emblème, de symbole. Quel emblème ? C’était un immeuble insalubre. Depuis 29 ans, on a vue sur cette tour depuis notre salon. Je peux vous dire que ces derniers temps on ne se sentait pas en sécurité. » Pour G., la démolition de la tour Plein ciel peut participer d’un futur embellissement de Montreynaud.
C’est un pas franchi dans la rénovation urbaine du quartier, comme le souligne Pascal Martin Gousset, directeur général adjoint de l’Anru (Agence nationale de la rénovation urbaine). « L’enjeu ce n’est pas la démolition d’un bâtiment mais la reconstruction d’un quartier. Cette forme de bâtiment sur un site excentré n’était pas forcément adaptée à la demande. 40 logements n’ont jamais été vendus sur les 90. Or lorsqu’un immeuble ne correspond plus à une demande, il ne faut pas s’acharner. » Pour Pascal Martin Gousset, ni la transformation de la tour en objet d’art urbain ni sa rénovation n’ont été sérieusement envisagées. « Il y a un attachement psychologique qui est humain mais il faut vivre avec son temps. La rénovation aurait coûté trop cher. » La restructuration de Montreynaud devrait se poursuivre conformément aux plans de l’Anru. Le coût global de la rénovation urbaine sur le quartier se porte à 106 M€.
Représentatif de l’art de vivre de la Renaissance, le Château d’Ancy-le-Franc est, de part une composition profondément originale dans sa simplicité, sans exemple en Italie comme en France.
Héritier des terres d’Ancy-le-Franc au décès de sa mère, Anne de Husson, Comtesse de Tonnerre, Antoine III de Clermont décida d’y faire construire un château sur un terrain vierge qui permettait la réalisation exemplaire de ses goûts, sans le souci de s’accommoder d’une construction plus ancienne.
C’est donc de la rencontre, à la cour de François Ier, de ce grand Seigneur, Lieutenant Général du Dauphiné, Grand Maître des Eaux et Forêts et de surcroit beau-frère de Diane de Poitiers, avec un architecte transalpin de renom Sébastiano SERLIO qu’est né le Château Ancy-le-Franc.
Commencé en 1542, la construction fut probablement achevée en 1550. La régularité parfaite préside à l’organisation des volumes et des façades. Quatre corps de logis dessinent un carré parfait flanqué aux angles de pavillons quadrangulaires.
L’intérieur renferme une série remarquable de peintures murales (sur enduit). Outre le château, le domaine comprend de vastes écuries, une ferme sur cour, diverses constructions dont la ” FOLIE ” réalisée en 1761 et située au milieu de l’étang, côté Sud.
Propriété des Clermont-Tonnerre jusqu’en 1683, le château devient à cette date propriété du François-Michel Le Tellier, Marquis de Louvois, célèbre Ministre de Louis XIV. Ses héritiers seront contraints de s’en séparer en 1844, au profit de Gaspard-Louis-Aimé de Clermont-Tonnerre, descendant d’Antoine III de Clermont. Après avoir appartenu aux princes de Mérode puis à divers propriétaires, le château est aujourd’hui la propriété de la société Paris Investir SAS dont l’esprit est d’en assurer la complète restauration.
FILE
FILE SÃO PAULO 2009
Festival Internacional de Linguagem Eletrônica
Electronic Language International Festival
FILE 10 NURBS PROTO 4KT
10 anos de FILE, 10 anos de eventos realizados na cidade de São Paulo, 10 anos de discussão sobre arte e tecnologia no Brasil.
1. NURBS (Non Uniform Rational Basis Spline) é uma técnica muito conhecida de computação gráfica para representar curvas e superfícies, e que segundo o teórico russo Lev Manovich, no texto inédito que abre o catálogo desta edição, pode ser a nova ferramenta para a teoria cultural do sec. 21 juntamente com outras ferramentas de computação gráfica e visualização de dados. Lev Manovich participará do FILE Labo Workshop, no Mezanino do Centro Cultural Fiesp - Ruth Cardoso dia 30/07, das 9h às 13h.
2. PROTO de “Protomembrana”, performance do artista catalão Marcel.lí Antunez Roca, que acontecerá na abertura do evento (27/07) e dia 29/07, no Teatro do SESI – São Paulo.
3. 4KT, a primeira transmissão transcontinental em superalta definição, que está será feita no mundo do longa-metragem “Enquanto a Noite não Chega”, com direção de Beto Souza, dia 30/07, às 19 horas, no Teatro do SESI – São Paulo.
FILE 10 Highlights
10 years of FILE, 10 years of events accomplished in the city of São Paulo, 10 years of discussions on art and technology in Brazil.
1. NURBS (Non Uniform Rational Basis Spline) is the concept developed by Russian theoretician Lev Manovich in the unpublished text that opens this edition's catalog. Lev Manovich will participate in FILE Labo Workshop, at the Mezzanine of Fiesp - Ruth Cardoso Cultural Center, on July 30, from 9 a.m. to 1 p.m.
2. PROTO from “Protomembrane”, performance by Catalan artist Marcel.lí Antúnez Roca, will happen in the event's opening (07/27) and on 07/29, at the SESI – São Paulo Theater.
3. 4KT, the first transcontinental broadcasting in super-high definition that will happen in the world of the feature film “While the Night Doesn't Come”, directed by Beto Souza, on 07/30, 7 p.m., at the SESI – São Paulo Theater.
INSTALAÇÕES
Abraham Manzanares (colorsound) _ Boreal Painte _ Espanha
Alexandra Dementieva_ Drama House _ Bélgica
Andreas Muxel e Martin Hesselmeier _ Capacitive Body _ Alemanha
3kta - Directed by André Rangel and Anne-Kathrin Siegel _ Graffonic _ Portugal e Alemanha
Christa Erickson _ Climate Shifts _ Estados Unidos
Daan Brinkmann _ Skinstrument _ Holanda
Blendid (Tim Olden e David Kousemaker) _ TouchMe _ Holanda
Emiliano Causa, Tarcisio Pirotta e Matías Costas _ Sensible _ Argentina
EunJoo Shin _ Vocal Trio _ Coréia do Sul
Fabiano Onça e Colméia _ Stogrepock _ Brasil
Giselle Beiguelman e Mauricio Fleury _ Suíte para Mobile Tags - Movimento #1 _ Brasil
Graziele Lautenschlaeger _ Don't Give Up! About a history that doesn't want to be told _ Brasil
Hakeem B. _ Once Upon a Time _ França
Hugues Bruyère _ Presence _ França
Jorge Luis Crowe _ Estero _ Argentina
Jörg Niehag _ samplingplong _ Alemanha
Juliana Cerqueira _ Corpo Digitalizado _ Brasil
the Demos _ Moving Mario _ China
Leo Nuñez _ Game of Life _ Argentina
Luis Felipe Carli _ Complexidade Organizada _ Brasil
He-Lin Luo _ Maelstrom _ China
Magdalena Pederin _ The Voice From the Loudspeaker _ Croácia
Marcel•lí Antúnez Roca_ Metamembrana _ Espanha
Marina Chernikova _ Urban Surfing Moscow _ Holanda
Masato Takahashi, Sho Hashimoto _ The Noses: Communication Organs _ Japão
Motomichi Nakamura _ Red Eyes _ Estados Unidos
Naomi Kaly _ Dualogue _ Estados Unidos
Nina Tommasi _ Biological Instrumentation _ Áustria
Nina Waisman; with pd programming by Marius Schebella_ Between Bodies (Tijuana), Estados Unidos
Phillip Stearns (Pixel Form) _ c. 15:33 _ Estados Unidos
Ricardo Nascimento _ Authority _ Áustria
Seokhwan Cheon _ Pondang _ Estados Unidos
Tim Coe _ Volatile Nexus _ Alemanha
Deletere // redSugar _ Augmented Reality _ França
Ebru Kurbak e Jona Hoier _ Hot & Cold Whisperer _ Áustria
Yonakani: Young ah Seong, Takuji Narumi, Tomohiro Akagawa _ Thermotaxis _ Japão
Artemis Moroni, Jônatas Manzolli, Mariana Shellard e Sidney Cunha _ AURAL _ Brasil
MÍDIA ARTE
Norberto Idiart Ritter, Rosario Lázaro Igoa, Andrew Orihuela e Cesar Funk _ La Palabra _ Brasil
A. Bill Miller _ gridworks2000-anim09 _ Estados Unidos
Jackson Marinho - Victor Valentim - Anibal Alexandre - Adriana Prado _ Autonomia Duvidosa _ Brasil
Agricola de Cologne _ SILENT CRY _ Alemanha
Agricola de Cologne _ TIMED OUT _ Alemanha
Alan Bigelow _ Deep Philosophical Questions _ Estados Unidos
Alan Bigelow _ What They Said _ Estados Unidos
Alex Hetherington _ SARAH WINCHESTER MADE ME HARDCORE _ Reino Unido
Aline X _ DVD Golpes - Uma investigação interativa _ Brasil
Alisson R. Ribeiro, Bruna Ongaro, Eric Notarnicola, Magda Martins, Marcel Melfi, Michel Adão Teixeira, Rafael Nery _ Metadoxo - O sentir e interpretar da trilogia das cores _ Brasil
Ana Genduso, Bernardo Duca, Denise Brito, Mariana Roncalli, Renan Petrecca, Robson Silva e Victor Hugo Luz _ Universo Visceral _ Brasil
André Anaya de Carvalho, Beatriz Castanho,Denisson de Sousa, Diego Gregor Martins, Fabrício Novak, Kleber Nunes Domingues e Nelson Rico Gutierres Junior _ Espaço e Movimento _ Brasil
André Sier _ Corrida Espacial #1 _ Portugal
André Sier _ Corrida Espacial #3 _ Portugal
Andrei Thomaz _ Somewhere in Time _ Brasil
Andrei Thomaz _ A caça e o caçador _ Brasil
Anibal Diniz, Colaboração de Victor Valentim na Programação Sonora _ Caixa de Dados _ Brasil
Anis _ 109 _ Estados Unidos
Antoine Schmitt _ Time Slip _ França
Audrei Carvalho _ E-poetamentos (tradução intersemiótica de poemas de Augusto de Campos) _ Brasil
Bárbara de Azevedo _ O oculto do planeta azul_ Brasil
Bárbara de Azevedo _ Substância _ Brasil
blackhole-factory e David Bickerstaff _ SONG _ Alemanha e Reino Unido
Brian Maniere _ Sandbox Project _ Estados Unidos
Brit Bunkley _ Floral _ Nova Zelândia
calin man _ _ Romênia
Carlindo da Conceição Barbosa, Guilerme Tetsuo Takei, Kauê de Oliveira Souza, Renato Michalischen, Ricardo Rodrigues Martins, Tássia Deusdará Manso e Thalyta de Almeida Barbosa _ Stickerlog - um registro da história, produção e disseminação dos stickers _ Brasil
carlo sansolo _ art conquest _ Brasil
Carlos Praude _ stratus _ Brasil
Carolien Hermans _ BODY IN BITS AND PIECES _ Holanda
casadalapa (Julio Dojscar, Pedro Noizyman e Newber) _ Bem me quer, mal me quer _ Brasil
Céline TROUILLET _ SONG N°7 _ França
Céline TROUILLET _ SONG N°8 _ França
Céline TROUILLET _ SONG N°10 _ França
Claudia Sandoval _ Living Cemetery _ Brasil
cristine de bem e canto _ cartão postal _ Brasil
cyriaco lopes _ CORRESPONDENCES _ Estados Unidos
DANIEL HANAI _ KINDER PROJEKT _ Brasil
David Muth _ Counterclockwise _ Reino Unido
David Muth _ Up And Down _ Reino Unido
Denise Agassi e Nacho Durán _ Virtual Velázquez _ Brasil
Eric Schockmel _ Syscapes # Interlude _ Luxemburgo
Fernando Velázquez, Bruno Favaretto, Francisco Lapetina _ Your life, our movie _ Brasil/Uruguai
Gabriela Canale Miola e Guilherme Baracat _ ANEMIC CINEMA, MESMO _ Brasil
Ger Ger _ Luxor 22.145 _ Alemanha
Ger Ger _ Black Balloons _ Alemanha
Ger Ger _ What the Fuck _ Alemanha
grégoire zabé _ sharedscapes - points of view on landscapes _ França
Hugo Solís _ Ojos Te Vean _ Estados Unidos
Intermedia Writing Systems: Matthew Butler e Aaron Sachs _ A Box Full of Angels _ Estados Unidos
Jorn Ebner _ (»Feuerland«) _ Alemanha
José Luis de Vicente, Irma Vilà e Bestiario _ The Atlas of Electromagnetic Space _ Espanha
Julian Konczak _ J9 _ Reino Unido
Karel Doing _ Antipode136 _ Holanda
Karla Muner e Claudio Bitencourt _ Saudade _ Brasil
lemeh42 _ Illusion for movements _ Itália
Mateus Knelsen, Felipe Szulc, Ana Claudia Pátria, Mileine Assai Ishii, Renata Nogueira de Martinez, Tânia Taura, Pamela Cardoso _ Prismática: a narratividade no Cinema e na Hipermídia em uma releitura do filme 21 Gramas _ Brasil
Michael Takeo Magruder _ Reflection (hope and reconciliation) _ Reino Unido
Michael Takeo Magruder _ Last Days…_ Reino Unido
Miguel Leal e Luís Armento _ Clouds of Clouds _ Portugal
Miriam Duarte Teixeira _ Passagens _ Brasil
miska _ windtracing _ Finlândia
miska _ kiasma cafe north _ Finlândia
miska _ longlapses: mannerheimintie south _ Finlândia
nano _ Face Invader _ Estados Unidos
Nick Briz _ an-uh-mit data _ Estados Unidos
olaconmuchospeces _ Cajas _ Argentina
osvaldo cibils _ caracolaplysia _ Itália
Pedro Talarico Lacerda e grupo Akronon (Silvio Ferraz, Rogério Costa e Edson Ezequiel) _ Espaços _ Brasil
Perry Bard _ Man With A Movie Camera:The Global Remake _ Estados Unidos
Peter Horvath _ Boulevard _ Canadá
rachelmauricio castro _ leleXZoom _ Brasil
rachelmauricio castro _ Xx**xX _ Brasil
rachelmauricio castro _ ¬¬ 7 ¬¬ _ Brasil
Regina Pinto _ Café com Pão _ Brasil
Richard O'Sullivan _ Fragments of the Los Angeles River _ Reino Unido
Richard O'Sullivan _ Femdale, Western Canyon, Los Angeles _ Reino Unido
Richard O'Sullivan _ Palimpsest _ Reino Unido
Richard O'Sullivan _ The Other Image _ Reino Unido
Richard O'Sullivan _ Transit _ Reino Unido
Richard O'Sullivan _ Present Tense _ Reino Unido
Roderick Coover _ Unknown Territories _ Estados Unidos
Rodrigo Assis o, Daniel Pitorri e Karen Mota _ Construção e Desconstrução _ Brasil
Roni Ribeiro _ Apólogo _ Brasil
Same _ "The Way North" _ Estados Unidos
simon welch _ Final Call _ França
simon welch _ Tam Tam _ França
simon welch _ Flotsum _ França
Stefan Linecker _ nettime _ Áustria
Stuart Pound _ Speech _ Reino Unido
Stuart Pound _ The crying of the forest _ Reino Unido
Stuart Pound _ Retro disk chunter _ Reino Unido
susanne berkenheger _ movement-for-account-corpses.de _ Alemanha
Vanessa Louzon _ Ordinary Show _ Reino Unido
Yara Rondon Guasque Araujo, Fabian Antunes Silva, Silvia Guadagnini e Hermes Renato Hildebrand _ Visualização do Manguezal Ratones _ Brasil
Zach Blas _ Queer Technologies _ Estados Unidos
GAME
Andrei Thomaz _ Labirintos Invisíveis _ Brasil
Cavalo Voador - Fabrício Fava, JJ Marreiro e Daniel Valente _ Pranayama _ Brasil
Chris Basmajian _ Attention Hog _ Estados Unidos
Daniel Ferreira _ Nibballs _ Brasil
Fernando Chamis _ Surfínia _ Brasil
Josh Fishburn _ Survive/Progress _ Estados Unidos
Personal Cinema & the Erasers _ Folded in _ Grécia
Picolargo Software _ Guerra no Sertão _ Brasil
INOVAÇÃO
C.E.S.A.R _ Centro de Estudos e Sistemas Avançados do Recife _ Brasil
Cietec _ Centro Incubador de Empresas Tecnológicas _ Brasil
FINEP _ Financiadora de Estudos e Projetos _ Brasil
INATEL _ Instituto Nacional de Telecomunicações _ Brasil
SENAI _ Inovação tecnológica _ Brasil
HIPERSÔNICA PERFORMANCE
*spark _ rbn_esc____av _ Reino Unido
Author & Punisher _ Dub Machines (nextGen of Drone Machines) _ Estados Unidos
blackhole-factory / Elke Utermoehlen and Martin Slawig _ RESTMETALL _ Alemanha
D-Fuse / Michael Faulkner, Matthias Kispert _ Particle _ Reino Unido
Het vleesgeworden videowoord (The videoword made flesh): Albert van Abbe, Roel Dijcks, Wim-Jan Smits, Ties van de Ven _ A/V Scaping series _ Holanda
Mesa de Luz. Integrantes: Hieronimus do Vale, Marta Mencarini e Tomás Sefenin _ Mesa de Luz: Cotidiano _ Brasil
Playboy's Bend _ The playboy's Bend show _ Bélgica
Sadmb _ Cubie _ Japão
Tetsu Kondo _ Dendraw _ Japão
Vj Motomichi _ "No Rules, No Boundaries" Motomichi Nakamura's live video mixing _ Estados Unidos
Yroyto _ EILE _ França
Marcel•lí Antúnez Roca _ Protomembrana _ Espanha
Emotic _ RAW _ Espanha
HIPERÔNICA SCREENING
ATZ119 - Laurent Antonczak, Patricia Burgetsmaier, James Hayday _ Hamster Squaredance _ Nova Zelândia
Bret Battey _ Sinus Aestum _ Reino Unido
David Sullivan _ sunset refinery _ Estados Unidos
Jen-Kuang Chang _ OM _ Estados Unidos
Jen-Kuang Chang _ Drishti III _ Estados Unidos
Joao Vasco Paiva _ wide rothko _ Hong Kong
Marcela Pavia & LeoNilde Varabba _ Dancing around the One _ Itália
Max Jacob _ Risonanze _ Itália
Michal Levy _ One _ Estados Unidos
Nigel Power _ Becoming: Sao Paulo _ Tailândia
Sebastian Blank _ A Dialogue between Art and Society I-III _ Alemanha
soundsthatmatter _ illzeno _ Brasil
soundsthatmatter _ cKtroos _ Brasil
soundsthatmatter _ bismust-jet _ Brasil
Tammy Renee Brackett _ teXt _ Estados Unidos
Telcosystems: Lucas van der Velden | Gideon Kiers | David Kiers _ Semaphore _ Holanda
Timothy Weaver _ Biological Narrative #9: manuMindo _ Estados Unidos
VJ ELetro-I-Man _ Proyecto Representa Corisco _ Espanha
zabara _ Elm _ Rússia
HIPERSÔNICA PARTICIPANTES
Agricola de Cologne _ SoundLAB VI - soundPOOL _ Alemanha
Anaracecar _ Essential Slime _ Estados Unidos
Brian Maniere _ Sleepless _ Estados Unidos
CONCÍLIO - DANIEL GAZANA _ CONCÍLIO _ Brasil
Jen-Kuang Chang _ Karma _ Estados Unidos
Kunkuni Mix Project: Rosa Apablaza & Federico Duret _ Busco trabajo urgente _ Holanda
Melanie Menard _ Mathematically Generated Seascape _ Reino Unido
Panayiotis KOKORAS _ Waltz at the edge of Lorros _ Grécia
Ricardo Dal Farra _ Memorias _ Canadá
Ricardo Dal Farra _ On the Liquid Edge _ Canadá
Rune Søchting _ Sound performance _ Dinamarca
Scant Intone _ Scant Intone _ Canadá
SIMPLE.NORMAL _ Imagenabilis _ Brasil
Tablet Visual Music _ Tablet Visual Music _ Brasil
Tetsu Kondo _ Dendraw _ Japão
Victor Valentim _ Semisfera - Para Sons Eletroacústicos _ Brasil
zabara _ Elm _ Rússia
CINEMA DOCUMENTA
Cadu Porto Oliveira _ CONECTION _ Brasil
Dominic Gagnon _ RIP IN PIECES AMERICA _ Canadá
Hans Fjellestad _ MOOG _ Estados Unidos
Joe Hiscott _ THE TELEPHONE EULOGIES _ Canadá
Joesér Alvarez & Coletivo Madeirista _ INVENTÁRIO DAS SOMBRAS _ Brasil
Laurent Lemonnier _ MONGOLIA EXPEDISOUND _ França / Mongólia
Mike Mills _ AIR: EATING SLEEPING WAITING AND PLAYING _ Estados Unidos
Reynald Weidenaar _ MAGIC MUSIC FROM TELHARMONIUM _ Estados Unidos
Scott Hessels _ NINE LIVES _ Singapura
Simon Power _ TECHNOMANIA _ Reino Unido
MAQUINEMA
"Land of Illusion" in Second Life: Lily & Honglei _ Land of Illusion _ Estados Unidos
J. Joshua Diltz _ Mercy of the Sea _ Estados Unidos
Pineapple Pictures: Kate Fosk and Michael R. Joyce _ Revenge _ Estados Unidos e Reino Unido
Lainy Voom _ GIW (from The Path) _ Reino Unido
Lainy Voom _ The Dumb Man _ Reino Unido
Nebulosus Severine _ Spiral Walcher _ Estados Unidos
Piotr Kopik _ Psychosomatic Rebuilders Animation #000 _ Polônia
Tony Bannan _ Dark Previz _ Austrália
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
________________________________
Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
________________________________
Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
_______________________________________________
De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
_______________________________________________
De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
_______________________________________________
Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
_______________________________________________
Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
_______________________________________________
Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
_______________________________________________
Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
_______________________________________________
Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
_______________________________________________
Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
_______________________________________________
Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
________________________________________
Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
modern furniture series: "red cross semae" sticker / tee logo / card, des. #8
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
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Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
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De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
_______________________________________________
De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
_______________________________________________
Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
_______________________________________________
Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
_______________________________________________
Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
_______________________________________________
Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
_______________________________________________
Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
_______________________________________________
Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
_______________________________________________
Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
_______________________________________________
Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
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Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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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
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
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Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
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De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
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De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
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Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
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Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
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Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
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Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
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Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
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Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
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Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
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Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
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Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
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Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
faure/macassar, western cape- kramat of sheikh yussuf
A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.
In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.
In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.
Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.
There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.
photographer's note-
sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.
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Die Kramat van Sjeg Yusuf, Faure
Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.
Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...
and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1
Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.
Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:
"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.
This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.
An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.
The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.
On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.
At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.
On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6
'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:
"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.
It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8
Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.
In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.
Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.
Sjeg Yusuf van Makassar (1626-1699)
Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.
Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.
Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.
Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9
Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.
"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.
Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.
Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10
Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.
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Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.
Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.
Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.
Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.
Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.
Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.
Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.
Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.
Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13
Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.
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Schalk W le Roux, Gordonsbaai, Februarie 2013
See also Van Bart, M. & Van Rensburg A.
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Wording on Minaret:
IN MEMORY OF
SHEIKH YUSUF
MARTYR & HERO
OF BANTAM
1629 - 1699
THIS MINARET
WAS ERECTED BY
HAJEE SULLAIMAN
SHAHMAHOMED
IN THE REIGN OF
KING GEORGE V
MAY 1925
_____________________
THIS MEMORIAL WAS UNVEILED
19TH DECEMBER 1925 BY
SIR FREDERIC DE WAAL
KCMG:LLD:FIRST ADMINISTRATOR
OF THE CAPE PROVINCE
IN THE YEAR WHEN THIS
DISTRICT WAS VISITED BY
HIS ROYAL HIGNESS
THE PRINCE OF WALES
4TH MAY 1925
_____________________
THE "DARGAN" OF ASHBAT
[COMPANIONS] OF SAINT SHEIKH YUSSUF
[GALERAN TUANSE] OF MACASSAR.
_____
HERE LIE THE REMAINS OF FOUR OF FORTY-NINE
FAITHFUL FOLLOWERS WHO AFTER SERVING
IN THE BANTAM WAR OF 1682-83, ARRIVED WITH
SHEIKH YUSSUF AT THE CAPE FROM CEYLON,
IN THE SHIP "VOETBOOG" IN THE YEAR 1694.
_____
THIS COMMEMORATION TABLET WAS ERECTED
DURING THE GREAT WAR ON 8 JANUARY 1918.
BY HAJEE SULLAIMAN SHAHMAHOMED.
SENIOR TRUSTEE.
Wording on plaque:
PRESIDENT SOEHARTO
OF THE REPUBLIC OF INDONESIA
VISITED THIS SHRINE ON 21 NOVEMBER 1997
TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF
MACASSAR UPON WHOM THE TITLE OF NATIONAL
HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT
ON 7 AUGUST 1995
Writings about this Kramat of Sheikh Yusuf
Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.
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De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.
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De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.
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Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.
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Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.
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Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.
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Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.
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Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.
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Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.
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Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.
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Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.
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Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430
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Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.
When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.
Taken from the pedestal of the statue in the Place des Victoires, these captives represent the nations defeated by the Treaty of Nijmegen (1679). Each expresses a different reaction to captivity: revolt, hope, resignation, or grief. They were first kept in the Invalides (1804-1939) then allocated to the Louvre in 1960 and placed in the grounds of the Château de Sceaux from 1961 to 1992.
The Captives surrounded the pedestal of the statue of Louis XIV on foot in the Place des Victoires. They are by Martin Desjardins, the gallicized name of an eminent Dutch sculptor active during the reign of Louis XIV, who had already made his name with the decoration of the Hôtel Salé (now the Musée Picasso). The monument was commissioned in 1679 by François d'Aubusson, duke of La Feuillade and marshal of France, who had distinguished himself in the campaigns in Franche-Comté and Sicily. He was an astute courtier, and thought it opportune to raise a grandiose monument to the glory of his king. As a setting for the statue, he persuaded the city to open up an immense square and he had the architect Jules Hardouin-Mansart design it. The square was named Place des Victoires in homage to France's victories in the Dutch War, which ended in 1679 with the Treaty of Nijmegen. The monument was inaugurated in 1686.
The captives, four larger-than-life bronze figures, symbolize the four nations defeated at the time of the Treaty of Nijmegen. Each represents one of the ages of man and a different attitude to captivity.
Spain is a smooth-faced young man with streaming hair. His naked, upright body and heavenward gaze all indicate hope.
The Holy Roman Empire is a bearded old man dressed in an ancient tunic. His head is bowed and his body sags in dejected resignation.
Holland is young man with virile features and a short beard. His naked body poised to leap, his shoulder thrust forward in a defiant gesture and his wild expression speak of rebellion.
Brandenburg is a mature man dressed like an ancient barbarian (like the Farnese Prisoners, classical marbles highly appreciated by many artists). The hand clutching his cloak, the drooping right shoulder and contorted face express grief.
The Captives are all turned to the right, which encourages viewers to walk around the monument in a clockwise direction.
Desjardins brilliantly varied his figures, alternating old and young, nude and clothed, upright and stooping figures, and arranging their arms and legs in different positions.
Captives were a favorite theme in Roman art. The trophies that La Feuillade had added to the statue in 1685 - helmets, shields, insignia, fasces, halberds, oars - strengthen the analogy with ancient triumphs. But there is a prestigious antecedent in France, The Four Captives (Louvre) executed by Pierre Franquville to flank the pedestal of the equestrian statue of Henry IV on the Pont Neuf.
The contemptuous iconography of the monument became inappropriate as alliances were formed and it ran counter to the spirit of the Enlightenment. During the Revolution, the gilt bronze statue of the king was melted down, but the Captives, seen as victims of absolute power, were spared and the chains that shackled them were broken. Taken to the Louvre in 1790, they were subsequently placed in the Invalides (1804-1962) then in the Parc de Sceaux, before returning to the Louvre in 1992.
www.louvre.fr/en/oeuvre-notices/four-captives-also-known-...
"The Musée du Louvre, or officially Grand Louvre — in English, the Louvre Museum or simply the Louvre — is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, it is located on the Right Bank of the Seine in the 1st arrondissement (district). Nearly 35,000 objects from prehistory to the 19th century are exhibited over an area of 60,600 square metres (652,300 square feet).
The museum is housed in the Louvre Palace (Palais du Louvre) which began as a fortress built in the late 12th century under Philip II. Remnants of the fortress are still visible. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of antique sculpture.
The museum opened on 10 August 1793 (the first anniversary of the monarchy's demise) with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The size of the collection increased under Napoleon and the museum was renamed the Musée Napoléon. After the defeat of Napoléon at Waterloo, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and gifts since the Third Republic, except during the two World Wars. As of 2008, the collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
By 1874, the Louvre Palace had achieved its present form of an almost rectangular structure with the Sully Wing to the east containing the square Cour Carrée and the oldest parts of the Louvre; and two wings which wrap the Cour Napoléon, the Richelieu Wing to the north and the Denon Wing, which borders the Seine to the south. In 1983, French President François Mitterrand proposed the Grand Louvre plan to renovate the building and relocate the Finance Ministry, allowing displays throughout the building. Architect I. M. Pei was awarded the project and proposed a glass pyramid to stand over a new entrance in the main court, the Cour Napoléon. The pyramid and its underground lobby were inaugurated on 15 October 1988. The second phase of the Grand Louvre plan, La Pyramide Inversée (The Inverted Pyramid), was completed in 1993."
Wikipedia
Mauna Kea Beach Hotel - History
George Mason headed the Hawaii Department of Economic Development in the early 1960's (later he founded the Pacific Business News). It was determined that Hawaii's tourism industry had to expand beyond Waikiki to the outer islands. William Quinn, the first Governor of Hawaii, sent Mason to Caneel Bay Plantation in the U.S. Virgin Islands to study Laurence Rockefeller's investment and development of an environmentally friendly resort set on a very remote island, St. John. Mason had several conversations with Lesley Moore, Caneel Bay's hotel manager at the time. As a result an invitation was delivered to Laurence Rockefeller to visit Hawaii with the hope he would develop a similar resort on one of Hawaii's outer islands.
In 1960 Rockefeller arrived in Hawaii along with his long-time associate Allston Boyer who was instrumental in the development of Caneel Bay Plantation and Dorado Beach Hotel and Walter Collins representing the firm Belt, Collins & Associates known for providing master planning, landscape architecture and civil engineering. The visitors were given the use of a state airplane to visit possible resort locations. In fact Aloha Airlines donated the plane and crew. When Rockefeller later learned this, he insisted on paying for it. The entourage stayed overnight at the Parker Ranch, Volcano House and Kona Inn on the Big Island, Coco Palms on Kauai and Hotel Hana Maui - where Rockefeller met and visited with Robert Butterfield (then the hotel manager at Hotel Hana Maui and later the second hotel manager at Mauna Kea Beach Hotel). Rockefeller met with Parker Ranch owner Richard Smart. He asked to visit the beach he had seen while flying over the island. From the ranch headquarters in cool misty Waimea the small group descended the bumpy 2600 feet by jeep trail to visit the beach at remote Kauna'oa Bay. It was reported that George Mason, Allston Boyer and Laurence Rockefeller went swimming at Kauna'oa Bay. As Mason had hoped the visitors were awe struck by the crescent shaped beach, the warm Pacific waters and the spectacular view of the snow-capped Mauna Kea. In May, 1961 Rockefeller returned to Kauna'oa Bay with Robert Trent Jones and the governor of Hawaii to announce the plans for a massive investment in a resort and golf course. At that time Kauan'oa Bay's crescent shaped beach was isolated, had no water or electricity and was accessible only by a dirt road and foot paths. Richard Smart leased approximately 500 acres for 99 years to Laurence Rockefeller for building the Mauna Kea Beach Hotel on Kauna'oa Bay of the Kohala Coast. Smart said it was land too dry for his cattle!
Rockefeller first selected the architect John Carl Warnecke, a pioneer of contextual architecture - fitting a building into its environment. Warnecke later designed the Hawaiian State Capitol building. Rockefeller initially conceived the resort to follow the cottage format similar to his design for Caneel Bay Plantation and Little Dix Bay. Rockefeller is quoted “The design should follow the natural contours of the land, incorporate lava rock and in every possible way make the hotel invisible.” Nathaniel A. Owings, a founder of the architectural firm of Skidmore, Owings & Merrill, was leaning towards designing 100 beach cottages. A model cottage was built, it was later demolished after sustaining damage from tropical storms. The cottage concept was shelved in favor of a single large structure. Later Rockefeller turned to the architect Edward Charles Bassett of the Skidmore, Owings & Merrill firm to design the hotel that is part outdoors and part indoors, in fact the hotel has a door-less entry. Bassett also designed in 1962 the Oakland-Alameda County Coliseum in Oakland.
Belt Collins prepared for Pioneer Mill sugar plantation the first feasibility study for the Ka'anapali resort area on Maui. Belt Collins work at Mauna Kea included the construction of the hotel, its grounds, sewage plant, golf course, drilling of three wells and building a segment of the Queen Ka'ahumanu Highway from Kawaihae to the hotel. The construction of the Mauna Kea Beach Hotel was a huge logistical task. All building materials came by ferry. A temporary camp was created to house and feed the 500 construction workers.
As the resort neared completion, Rockefeller took a motor launch off shore. He looked back to the bay, the beach and his hotel-to-be with snow-capped Mauna Kea volcano, the backdrop. He determined the building's exterior was too bright. He ordered a repaint to better harmonize with the surroundings. He is quoted as saying "No man can outdo nature; mustn't even try."
Another expert of Rockefeller's team was Robert Trent Jones, Sr. He had designed Rockefeller's Dorado Beach golf courses in Puerto Rico. Regarding the third hole, Jones said, "Mr. Rockefeller, if you allow me to build a golf course here, this will be the most beautiful hole in the world." The debate continues if the par 3 third hole with an over-ocean inlet carry from tee to green is the most beautiful golf hole in the world. He seamlessly blended in the 18 fairways and greens to the black lava rock. The golf course was completed before the hotel opened. Jackie Pung, Hawaii's first woman golfing notable, was the initial teaching pro. "Rags" Ragland was the first director of golf at the Mauna Kea Beach Hotel. The first pro shop was a shack that was originally a recreational facility for Parker Ranch employees who wanted to swim at Mauna Kea's beach.
When it opened in July, 1965 the 154-room Mauna Kea was the most expensive hotel ever built at the time, at $15 million. The opening room rates on the Modified American Plan (MAP) started at $43, including breakfast and dinner in the Pavilion, which featured rotating menus of international cuisines. From 1965 to 1995, the Hotel operated contentedly without guestroom televisions. Esquire magazine named the Mauna Kea Beach Hotel one of the "Three greatest hotels in the world."
At the 1965 grand opening Rockefeller spoke this prayer. "May we all find inspiration in the majesty of the sea and the beauty of the surrounding mountains. May we learn again the joy of living and that good will is the key to brotherly love. May we recognize anew that material goods are but the means - stepping stone to the spiritual meaning and purpose of life."
The Mauna Kea Beach Hotel boasts an impressive art collection that includes priceless Pacific and Asian art pieces, curated for the resort’s opening, and handmade Hawaiian quilts from the 1960’s. These masterpieces elevate the status of Mauna Kea Beach Hotel to a museum in and of itself. Over 1600 pieces of authentic artwork and artifacts make Mauna Kea’s collection one of the most extensive collections of Asian and Oceanic artwork assembled by one individual, Mr. Rockefeller. The Art Collection showcases pieces from India, Southeast Asia, China, Japan, Melanesia, and Polynesia. Works of art include everything from custom, in-room watercolors, to a seventh-century sandstone Buddha, to elaborate Thai temple guardians. It was Mr. Rockefeller’s intention to informally display the pieces without signs or glass, in order to create the semblance of a noble manor teeming with abundant fine art.
Leslie H. Moore Jr., from Caneel Bay Plantation, was the first general manager of Mauna Kea. Allston Boyer hired Moore to manage Caneel Bay in 1956. Moore, a graduate of the Cornell University Hotel School, was previously the manager of the General Electric's Association Island at Henderson Harbor, NY. Moore left Mauna Kea to manage the White Elephant Hotel on Nantucket Island, MA. Executive assistants at opening were Richard Erb and James Reed and Clay James headed the food and beverage department along with executive chef Walter Blum. Mrs. Pi'lani Bell was the first executive housekeeper.
Robert H. Butterfield Jr managed the hotel from 1966 to 1982. He and his wife, Charlotte managed the Hotel Hana Maui from 1948 to 1965. Butterfield held a degree in Hotel Administration from the Cornell Hotel School, served wartime in the navy before working with Sugar Plantation owner Paul Fagan, the owner of remote Hotel Hana Maui. Butterfield died in 2011 at age 94 in Waimea, Hawaii. The hotel manager's residence was the "White House" (today the 8 room Jacaranda Inn) at Waimea, formerly the home of the Parker Ranch manager. It is where Rockefeller stayed during his many visits to the construction site and entertained guests.
In 1967 Laurence Rockefeller sold portions of his hotel assets to Eastern Airlines. Eastern acquired an 80% interest in the 306 room Dorado Beach resort for about $17 million and acquired a 60% interest in the 154 room Mauna Kea Beach Hotel for $10 million. As part of the deal Eastern also acquired a 40% interest in Rockresorts, Rockefeller's hotel management company.
In 1978 Laurence Rockefeller and Eastern Airlines sold the Mauna Kea Beach Hotel to UAL. Inc., the parent company of United Airlines and Western International Hotels for $51.5 million. The sell included 310 room hotel, 18-hole Robert Trent Jones golf course and about 100 acres of land adjacent to the hotel and golf course. Western International (later Westin) would operate the hotel. Western International at that time also owned and operated the Ilikai Hotel in Waikiki. Many repeat guests worried the hotel would lose its Rockefeller lustre. But Bob Butterfield in a 1981 interview is quoted "They (UAL, Inc.) told me, don't cut maintenance, don't cut anything.
William F. Mielcke, served as President of the Mauna Kea Resort for 21 years from 1980 to 2001. Previously he served as general manager at the Kona Surf. Mauna Kea Resort consists of the 258 room Mauna Kea Beach Hotel and the 350 room Hapuna Beach Prince Hotel, two golf courses and real estate including single family homes, townhomes, condominiums and vacant land.
The hotel was purchased in 1989 for $315 million by Yoshiaki Tsutsumi of Seibu Railway. Fortune magazine named Tsutsumi as the world's richest man during the years 1987 to 1990. Seibu purchased the Mauna Kea Beach Resort from the partnership of Aoki Corp of Japan and the Robert M Bass Group of Fort Worth Texas – who had acquired Westin Hotels from UAL, Inc. The hotel moved from the Westin flag and management to Seibu's Prince Resorts Hawaii management in 1990.
In 1994, 30 years after opening, the Mauna Kea Beach Hotel closed for a 1 year renovation. This happened as the Hapuna Prince Hotel opens. Mauna Kea Beach reopened with Adi Kohler as the Managing Director - and - with TVs in the guest rooms. Kohler retired in June, 2000.
Prince Hotels Hawaii embarked on a three-year, $150 million renovation of the Mauna Kea Beach Hotel after it closed following major damage from a 2006 earthquake. Mauna Kea Beach Hotel re-opened in 2009, the renovations included larger, redesigned guest rooms, new restaurants, a new spa, a new club house, and new air conditioning and plumbing systems. Mauna Kea Beach Hotel was added to Marriott's Autograph Collection in 2015.
Mauna Kea Beach Hotel management through 50 plus years of operation:
Leslie Moore - appointed first General Manager in 1965
Bob Butterfield - appointed General Manager in 1966.
Adi Kohler - Mauna Kea Beach Hotel's 3rd Hotel Manager appointed in 1978.
William F Mielcke - named President of Mauna Kea Resort in 1980 (retired in 2001)
Adi Kohler - named Managing Director of Mauna Kea Resort in 1994 (retired in 2000)
Charlie Park - named the hotels fifth Hotel Manager in 1997.
Donn Takahashi - named President of Prince Resorts Hawaii 2004
Jon Gersonde - named General Manager - Mauna Kea Beach Hotel in 2008 (left in 2014 to be Managing Director Turnberry Isle, Miami)
Phyllis Branco - named Hotel Manager in 2010 (left in 2015 to be General Manager at Hilo Doubletree Naniloa Hotel)
Craig Anderson - named Vice President of operations Mauna Kea Resort in 2015 (previously was general manager at the Westin Moana Surfrider)
Information compiled by Richard L. Johnson (October, 2016). I was the Beverage Manager at the Mauna Kea Beach Hotel from approximately 1973 to 1975. I worked for Roger Bird, the Food and Beverage Manager. Bob Butterfield was the GM and Adi Kohler the Assistant GM. Michael White was the Pavillion Dining Room Manager. Kim Dietrich was the Executive Chef. I was a 1971 graduate from the U of Hawaii School on Travel Industry Management. Upon graduation Caneel Bay Plantation Assistant Manager George Pynn hired me as the night auditor. The telegram confirmation from Pynn was something like "$350 a month plus room and board. Also, a one way ticket from Honolulu to Charlotte Amalie, US Virgin Islands." I worked through several jobs ending as the Assistant Manager at Rockefeller's St. John National Park Cinnamon Bay Campground. Richard Erb, Caneel Bay Plantation's General Manager helped me in securing the Beverage Manager position at Mauna Kea.
Burning Tree Mastodon excavation (mid-December 1989), Burning Tree Golf Course, Heath, east-central Ohio, USA
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The Burning Tree Mastodon represents the most complete skeleton of American Mastodon ever found. The specimen was discovered on 12 December 1989 by a Flower Excavating Company drag line operator who was digging a new pond on the Burning Tree Golf Course grounds in Heath, southern Licking County, Ohio. The drag line’s shovel caught and damaged the skull. In the following three days, the fossil was excavated during relatively bitter winter cold and blowing winds. Excavation was conducted by the Ohio Historical Society and the Licking County Archaeology & Landmarks Society and volunteers from several organizations.
Locality: grounds of the Burning Tree Golf Course, southern side of Ridgley Tract Road, just west of Lake Drive, south side of Heath, southern Licking County, central Ohio, USA.
The American Mastodon is a extinct species of proboscidean mammal, Mammut americanum (Kerr, 1792) (Animalia, Chordata, Vertebrata, Mammalia, Proboscidea, Mammutidae). The only living proboscideans are the African Elephant (Loxodonta africana) and the Asian Elephant (Elephas maximus) (some researchers have proposed splitting the African Elephant population into two species, Loxodonta africana and Loxodonta cyclotis). Mammut americanum had a widespread distribution during the Pleistocene. Its fossil remains are found from Alaska to Florida, but are most commonly encountered in eastern America. Average statistics reported for the American Mastodon are: ~15 feet long, 9-10 feet tall at the shoulder, ~8,000-10,000 pounds. During life, mastodons were covered with coarse, brownish hair, unlike modern elephants. Thick body hair on Pleistocene proboscideans was an evolutionary adaptation to harsh wintery climates.
Remains of >150 mastodons have been reported in Ohio, but only about a dozen or so are semi-complete. The Burning Tree Mastodon is a ~30 year old male and is 90-95% complete, missing only the right rear leg, a few tail bones, two ribs, and all the toe bones. The lower spine and right rib cage have healed injuries which have been interpreted as the result of battles with other mastodons. Cut marks on some of the ribs indicate that this individual was butchered by early humans. Preserved stomach contents and intestinal contents were also recovered.
Isotopic dating of wood closely associated with the skeleton gives dates of 11,450 to 11,660 years. Isotopic dating of actual bone material gives an 11,390 year date (during the Wisconsinan Glacial Interval of the near-latest Pleistocene).
In addition to being near-complete, the Burning Tree Mastodon is remarkable in other ways. Preserved gut contents indicated a diet of moss, seeds, leaves, water lilies, and swamp grass. Before this discovery, American Mastodons were interpreted as having diets consisting principally of twigs & cones from evergreen trees. Additionally, 38 species of still-living gut bacteria were isolated from preserved intestinal contents. These ancient bacteria were, for a while, considered the oldest known living organisms anywhere on Earth. However, still-living gut bacteria have been isolated from insects in early Cenozoic amber and viable halobacteria have been recovered from Paleozoic and even late Precambrian rock salt.
The original Burning Tree Mastodon skeleton was sold in 1993 for over US$600,000 and now resides in a museum in Japan.
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Primary literature:
Fisher, D.C., B.T. Lepper & P.E. Hooge. 1991. Taphonomic analysis of the Burning Tree Mastodont. Current Research in the Pleistocene 8: 88-91.
Lepper, B.T., T.A. Frolking, D.C. Fisher, G. Goldstein, J.E. Sanger, D.A. Wymer, J.G. Ogden III & P.E. Hooge. 1991. Intestinal contents of a Late Pleistocene mastodont from midcontinental North America. Quaternary Research 36: 120-125.
Fisher, D.C. & B.T. Lepper. 1994. Paleobiology, taphonomy, and archaeology of the Burning Tree Mastodon. Geological Association of Canada, Mineralogical Association of Canada Annual Meeting Program with Abstracts 19: 36.
Goldstein, G. 1994. Isolation of living bacteria from the remains of an 11,000 year old mastodont. Geological Association of Canada, Mineralogical Association of Canada Annual Meeting Program with Abstracts 19: 42.
Fisher, D.C., B.T. Lepper & P.E. Hooge. 1994. Evidence for butchery of the Burning Tree Mastodon. pp. 43-57 in The First Discovery of America, Archaeological Evidence of the Early Inhabitants of the Ohio Area. Columbus. Ohio Archaeological Council.
Frolking, T.A. 1994. Late-Quaternary environments and landscape evolution of the Burning Tree Mastodon site, Licking County, Ohio. Geological Association of Canada, Mineralogical Association of Canada Annual Meeting Program with Abstracts 19: 39.
Lepper, B.T. & D.C. Fisher. 1994. Discovery, recovery, and stratigraphic context of the Burning Tree Mastodon, Licking County, Ohio, USA. Geological Association of Canada, Mineralogical Association of Canada Annual Meeting Program with Abstracts 19: 63.
Morgan, A.V. & J.J. Pilny. 1994. Fossil insects (Coleoptera) from the Burning Tree Mastodon site, Licking County, Ohio. Geological Association of Canada, Mineralogical Association of Canada Annual Meeting Program with Abstracts 19: 79.
Sanger, J.E. & D.S. Rutter. 1994. Paleolimnology of the Burning Tree Mastodont pond. Geological Association of Canada, Mineralogical Association of Canada Annual Meeting Program with Abstracts 19: 98.
Wymer, D.A. & L. Scott. 1994. The Burning Tree Mastodon paleobotany: gut contents and the peat matrix. Geological Association of Canada, Mineralogical Association of Canada Annual Meeting Program with Abstracts 19: 122.
Rhodes, A.N., J.W. Urbance, H. Youga, H. Corlew-Newman, C.A. Reddy, M.J. Klug, J.M. Tiedje & D.C. Fisher. 1998. Identification of bacterial isolates obtained from intestinal contents associated with 12,000-year-old mastodon remains. Applied and Environmental Microbiology 64: 651-658.
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Secondary literature:
Hansen, M.C. 1990. Mastodon skeleton discovered in Licking County. Ohio Geology Winter 1990: 1, 3-4.
Lepper, B.T. 1990. The Burning Tree Mastodon: a nearly complete skeleton from Licking County, Ohio. Mammoth Trumpet 6(1): 7.
Kaczmarek, S. 1991. Mastodon remains yield important discoveries. Echoes [Ohio Historical Society] 30(6): 2-3.
Lafferty, M.B. 1991. The great mastodon question. Columbus Dispatch 12 May 1991: D1.
Anonymous. 1992. The Burning Tree Mastodon - "A time machine into the Ice Age". Ward's Bulletin Spring 1992: 1, 11.
Folger, T. 1992. Oldest living bacteria tell all. Discover January 1992: 30-31.
Feldmann, R.M. and 23 others. 1997 (dated 1996). Fossils of Ohio. Ohio Division of Geological Survey Bulletin 70: xix, 299, 366-367.
Loer, D. 2001. Mastodon left only a memory. Columbus Dispatch 28 January 2001: B1.
Lepper, B.T. 2003. Mastodon bones yield telltale clues to beast's demise. Columbus Dispatch 18 November 2003.
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
The central sculpture represents the Yokohama Mazu. To the right (from devotees perspective) is the Jinmian Mazu, 金面妈祖,from Tainan, Taiwan while a Mazu from Meizhou, 湄洲妈祖, is placed on the left.
Located by the side of the altar are the two assistants of mazu, General who can see a thousand li 千里眼将军on the right and General who can hear a thousand li on the left 顺风耳将军(from devotee’s perspective). A side shrine is dedicated to the Earth Deities 福德正神.
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Mazu Empress of Heaven
Born in 960 CE, the story of Mazu begins in a small fishing village in the Fujian province on the southeastern coast of China. A daughter of Lin Yuan, she was given the name Mo Niang, “Silent Maiden”, because she didn’t cry at birth and for a good month after. She was a quiet, pensive child.
Mo Niang exhibited supernatural powers which continued to elevate with her steadfast devotion to her spiritual studies. At the age of sixteen, a Taoist immortal bestowed upon her two bronze tablets which gave her supreme psychic power to see into the future and predict weather, travel in spirit, heal illnesses, advert disasters and ward off evil. She was known to be an accomplished swimmer, diving into rough seas to rescue fishermen and seafarers in trouble. In literature, she’s frequently seen wearing a red robe and patrolling the seas to guide boats back to safety.
In one popular story, Mo Niang was at home weaving tapestry when her father and brother’s ship encountered trouble at the seas. She fell into a deep trance and left her body to save her kin, rescuing her brothers but not able to complete her mission to help her father when her mother, unaware of the situation, woke her from her trance.
Some stories say that she drowned from exhaustion while attempting to find her father. Other stories say that she passed away in meditation, and still others say she climbed a mountain to the heavens in a beam of bright light.
This shamaness was elevated to deity status posthumously. Today, this beloved Heavenly Mother’s protection extends beyond the seas to all aspects of life and death.
www.yokohama-masobyo.jp/en//mazu/
Following the Japan-US Treaty of Amity and commerce in 1858, the coastal town of Yokohama was developed as an open port on June 2, 1859.
As foreign companies established businesses in Japan, many Chinese middlemen arrived to facilitate trade and negotiate with interpreters and local merchants.
They brought to Japan many skills from home, dressmaking, art, painting, and letterpress prints to name a few. Over the years, the number of overseas Chinese immigrating to Yokohama increased. In 1886, Yokohama Chinatown’s first temple, Kuan Ti Miao was established where Mazu was also enshrined.
Records indicate that Japan’s earliest history of Mazu worship began in the Ryukyu Islands, in Okinawa as early as the mid1400’s.
Today more than 20 shrines and temples house Mazu as many traveling Chinese brought their protectress with them.
Roughly 1500 temples dedicated to this goddess exists in 26 countries, with over 200 million believers all over the world. Here in Japan, she can be found in temples in port cities where the Chinese travelers settled such as Yokohama, Osaka and Nagasaki.
Today, Mazu Miao sits on what was originally the Qing Dynasty Consulate during the Meiji Era (1868-1912).
Construction of this temple took the cooperation of our local community and we are honored to have the first temple in Japan dedicated to the Holy Heavenly Mother.
Yokohama Chinatown’s Mazu Miao is the first temple dedicated to this goddess in Japan and has been awarded a temple stamp by Taiwan’s Tainan Grand Mazu Temple.
www.yokohama-masobyo.jp/en//history/
Mazu Festival
Here at Yokohama Chinatown, we host an annual celebration dedicated to our Holy Mother Mazu on spring equinox. Lion dance and traditional Chinese performances are offered to the goddess to bring safety and prosperity to our community.
Pray For a Good MatchJuly 7 is the day we pray to Yue Lao, The Old Man Under the Moon to bring forth a loving, lasting marriage as well as fruitful relationships in all aspects of life.
New Year’s Eve CountdownDecember 31 countdown to midnight and we start the New Year with a bang! Firecrackers and lively Lion dance moves throughout Yokohama Chinatown to welcome the New Year.
Chinese New YearJanuary 1 of the Chinese lunar calendar typically corresponds to a date in February on the western calendar. On the eve of Chinese New Year, we seek protection from Mazu for a safe year ahead by walking under our Heavenly Mother’s palanquin to ward off evil.
La serie fue puesta al aire por primera vez en Argentina el miércoles 6 de septiembre de 2006 a las 23:30 h. Marcó 28,3 puntos de rating.
La música representativa es género disco, la canción escuchada en la presentación de los créditos del programa se titula "A Fifth of Beethoven" ("Una Quinta de Beethoven") de Walter Murphy. Basada en la "5ta Sinfonía de Beethoven en C menor". No debe confundírsele con el intro en "Roll Over Beethoven", interpretada por ELO.
La estructura de la historia se aplica al género de buddy movie, caracterizada por mezcla de misterio, intriga y comedia. La saga es de 10 capítulos de una hora cada uno.
La emisión finalizó el jueves 16 de noviembre de 2006 a las 21:00 h.
Empezó su reposición en diciembre a partir de las 21:15 h.
Y en el 2007, también se repitió la serie en junio que se televisaba a las 21:45 h.
Elenco [editar]Franco Montero (Rodrigo de la Serna): Franco tiene unos 30 años. Es una persona de una vida muy gris, muy solitario ya que se crió solo. La única contención que tuvo después del abandono de su padre cuando era niño, y de la muerte de su madre, fue la institución policial. A medida que fue enterándose cómo funcionaba se dio cuenta de que era una institución muy corrupta.
Hasta que la llegada de su medio hermano Lorenzo que trae la "chispa" que faltaba en su vida.
Lorenzo Montero (Rodrigo Noya): Lorenzo es un chico de 11 años, con una inteligencia superior a la de cualquier chico de su edad, extrovertido, valiente. Él es el medio hermano de Franco. La relación entre ambos comenzó siendo bastante fría, ya que Franco se había criado solo, después del abandono de su padre y la muerte de su madre cuando era muy pequeño; pero luego comenzó a ser más afectiva, a la medida en la que uno se iba adaptando al otro.
Gustavo Mansilla (Oski Guzmán): es el compañero de trabajo de Franco. Es una buena persona, bonachón, medio desubicado, no comprende con mucha facilidad a veces los casos que se le presentan. Su relación con el Subcomisario Serrano no es la mejor.
Subcomisario Serrano (Carlos Moreno): es el jefe de Montero. Soberbio, ignorante, malvado, no está contento con su trabajo. Si por él fuera, Mansilla no trabajaría con él. En el capítulo 7, Franco tristemente descubre que está saliendo con el amor de su vida: Marcelita. Es herido de gravedad en el capítulo 9.
Marcelita Gomez (María Marull): es la bella mesera del bar donde van los policías. Al principio su papel es secundario, pero a medida que se desarrolla la trama, ella cobra protagonismo.
Primero al descubrirse que ella es la novia del subcomisario Serrano y luego al involucrarse sentimentalmente con Franco Montero, lo cual traería problemas entre ambos hombres.
Este elenco cuenta además con participaciones especiales como las de Nancy Dupláa, María Socas, Luis Ziembrowski, Mónica Galán, Miguel Habud, Antonio Ugo, Luis Machín y Laura Anders, entre otros.
Equipo de producción [editar]Producción: Manuel García
Fotografía: Fidel Miranda
Arte: Mercedes Gumbold y Beatriz López
Vestuario: Verónica Latorre
Escenografía: Sergio Carnevali
Cámara: Diego Crucitti y Flavio Favia
Producción general: Juan Carlos Cabral
Productores asociados: Sebastián Darcyl y Tomás Darcyl
Argumento [editar]Comienza con un policía administrativo, Franco Montero, que recibe como herencia el cuidado de un medio hermano que él no conocía, Lorenzo Montero, un niño prodigio con un coeficiente intelectual de 200 que cambia su modo de vivir y su trabajo, quedando a cargo, con la ayuda del pequeño de once años, del nivel homicidios. Franco tiene un compañero de trabajo, Gustavo Mansilla. Deduciendo y explorando resuelven los casos más llamativos.
El unitario cuenta con 10 capítulos:
Capítulo 1: "El profesor Fontán" [editar]Franco conoce a Lorenzo. Al principio se niega a colaborar en la custodia del menor, pero la adopción no es optativa, sino obligatoria. Un profesor de literatura (personificado por Luis Machin) asesina a su alumno para robar una novela que él considera "de un verdadero autor, no de un alumno de literatura". Montero se dispone a descubrir el asesinato, y en busca de pruebas descubre una verdad terrible, el profesor Fontan era el asesino a quien habia confiado por unos instantes el cuidado de su hermano Lorenzo. Montero corre una carrera contra el tiempo para salvar a su hermano y atrapar al asesino.
Capítulo 2: "El secreto de Roque Peralta" [editar]A Franco le dan el puesto de jefe de brigada, por resolver el caso mencionado. Esto complica las cosas, ya que Franco no es una persona muy inteligente y mucho menos capacitada para dirigir. Lorenzo y Mansilla serán de gran ayuda para el desprotegido policía. Una joyería se incendia misteriosamente. El único muerto es el guardia de seguridad del edificio. Pero no todo es lo que parece: Este "guardia de seguridad" resulta ser una persona en mal estado psíquico, a quién dan de alta en el manicomio para involucrar en el crimen. El verdadero crimen lo cometen una responsable del manicomio y un cómplice. Quieren robar una joya.
Capítulo 3: "El caso del asesino gordo" [editar]Franco enseña a Lorenzo la explotación que sufren ciertos chicos sobre algunas personas que pretenden de ellos el éxito fácil y lucrar económicamente. Franco lo prepara para la derrota diciendo que este concurso estaba arreglado. Cuando finalizaba el programa Lorenzo descubre algo que es proyectado en sombras y empieza la escena policial, cierran el canal para que nadie entre ni salga. El dueño de un reconocido canal de televisión es asesinado en su departamento. Las únicas características que da el testigo son: "un hombre gordo que rengueaba". Ese "hombre gordo" resultan ser dos hermanos acróbatas rusos que increíblemente unieron sus cuerpos para dar con las características.
Capítulo 4: "El extranjero solitario" [editar]Hay un campamento para los hijos de los policías, al que Lorenzo acude, en Los Pinos. Un extranjero es misteriosamente asesinado en el pueblo de Los Pinos. Años después, tras la intriga que recibió Lorenzo al escuchar el relato, el misterio fue descubierto. El extranjero era judío, espía enviado a la argentina para descubrir a los nazis refugiados, uno de estos es el asesino. Al final, Lorenzo y Franco se hacen un poco más amigos.
Capítulo 5: "La única heredera" [editar]Un anciano millonario muerto en su propia casa. Habría sufrido una muerte natural, pero la policía investigaría. En medio, ella, la única heredera, una hermosa mujer (Nancy Duplaa) involucrada en una sospecha de asesinato. La mujer resulto no ser la esposa del anciano, sino una cómplice del crimen (heredar el dinero de este). La verdadera mujer había sido asesinada meses antes por el cómplice masculino.
Capítulo 6: "El loco de la azotea" [editar]Un francotirador asesina tres víctimas en diferentes lugares. En verdad solo iba por una presa, la segunda. Las otras dos las asesinó para esconder su crimen. Cuando se encontraban en plena investigación aparece una supuesta inspectora que debía pasar algunos días con ellos para evaluar como vivía Lorenzo. Mansilla "contrata" a Marcelita para hacerse pasar por novia de Franco, cubriendo así la presencia materna en el hogar.
Capítulo 7: "Muerte en escena" [editar]Los hermanos Montero (Franco y Lorenzo) fueron a ver una obra de teatro. Mansilla había convencido a Franco que invitara a Marcela a salir,pero ella no aceptó debido a que estaba saliendo con el subcomisario Serrano. Terminaron saliendo Franco, Lorenzo, Mansilla y Kamiho. Durante la obra, el protagonista es asesinado por uno de sus compañeros. La bala había sido cambiada por otro de los actores, al que desplazaron del papel principal para poner a la víctima.
Capítulo 8: "Tiempos difíciles" [editar]Lorenzo sufre la discriminación y el rechazo por parte de los demás chicos del barrio. Se enamora de una de ellos, llamada Valentina (Laura Anders) y lo invitan a la fiesta de cumpleaños de Valentina. Los chicos lo engañan diciéndole que era una fiesta de disfraces. Es el único que va ridículamente disfrazado (para los demás chicos), de Topo Gigio, convirtiéndose en la burla de todos. Un empresario aparece muerto en una pila de arena en medio de una obra en construcción, con una bala en la espalda. En verdad, al vecino de enfrente se le había disparado un arma, que culminó con la vida del empresario. Cayó desde su departamento, en un camión de volquetes que llevaba arena a dicha obra.
Capítulo 9: "El grupo de los cuatro" [editar]El subcomisario Serrano está involucrado en una "mafia" de comisarios. Franco presencia un asalto a dicho subcomisario que termina con un balazo que dejará a el policía como principal sospechoso. Franco y Marcela empiezan a salir juntos, él no se anima a tomar la iniciativa, palabras de Mansilla lo ayudan a enfrentar su miedo al rechazo.
Capítulo 10: "Capítulo final" [editar]El capítulo final se televisó por Telefe el jueves 16 de noviembre de 2006 en un horario especial. Se le ofrece a Franco Montero el puesto de subcomisario, que él acepta, y no queda conforme con su primer día de trabajo debido a la cantidad de casos que debía resolver. Entre Mansilla y Lorenzo intentan animarlo para continuar, ayudándolo a organizar a su equipo de detectives y convenciéndolo de que entre todos es posible terminar con la corrupción. Se le ofrece a Lorenzo una beca en un programa para mentes brillantes que se desarrolla en Francia, situación que produce "celos" en Franco e interés por parte de Lorenzo, para hacer este viaje. Lorenzo parte a París y Franco continua como subcomisario.
Música [editar]La selección de la música es muy sofisticada y precisa. Cada tema está perfectamente adecuado a cada situación. En varios capítulos se puede apreciar el estilo preferencial del director en la selección de la música. Al principio se puede escuchar como introducción una adaptación remezclada de la quinta sinfonía de Beethoven (The 5th of Beethoven). Capítulo 4: "El extranjero solitario": El anciano nazi escondido reproduce en su tocadiscos un tema de Edith Piaf titulado "Milord". Raramente este tema contiene una letra un tanto alabadora a una figura que llama Milord, que indirectamente se refiere a Hitler, motivo por el cual el antagonista lo escucha. También, se puede escuchar el tema "Dulce Daniela", de Víctor Heredia, cuando los cuidadores de los niños descansan despreocupados sobre hamacas.
Capítulo 10 "Capítulo final" : Al final del capítulo, mientras se proyectan imágenes de los protagonistas en forma melancólica, el tema que se escucha es "We'll Meet Again", de Johnny Cash.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Super Mystère represents the final step in evolution which began with the Dassault Ouragan and progressed through the Mystère II/III and Mystère IV. While earlier Mystère variants could attain supersonic speeds only in a dive, the Super Mystère could exceed the speed of sound in level flight. This was achieved thanks to the new thin wing with 45° of sweep (compared with 41° of sweep in the Mystère IV and only 33° in Mystère II) and the use of an afterburner-equipped turbojet engine.
The first prototype Super Mystère B.1, powered by a Rolls-Royce Avon RA.7R, took to the air on 2 March 1954. The aircraft broke the sound barrier in level flight the following day. As the Super Mystère B.2, also known as the SMB.2, the aircraft entered production in 1957. The production version differed from the prototype by having a more powerful SNECMA Atar 101G engine. A total of 180 Super Mystère B.2s were built. The Super Mystère served with the French Air Force until 1977. In addition, 24 aircraft were sold to the Israeli Air Force in 1958 (locally known as “Sambad”, an onomatopoeic spelling of the SMB.2 designation), and some French aircraft were leased temporarily to compensate for combat losses during the 1967 Six-Day War and the 1973 Yom Kippur War. From 1967 onwards, with the arrival of the A-4H Skyhawk, the IAF decided to implant Pratt & Whitney J52-P-8A engines into the Super Mystères, which were, although not afterburning, lighter, more reliable and 25% more powerful than the Sambad's original Atar engine. These converted machines were called “Sa’ar”, and from 1976 on, Israel sold 16 complete airframes of this type to Honduras.
Another SMB.2 operator became Sri Lanka, even though a small one and directly through French sources. The Royal Ceylon Air Force (RCyAF) was formed on 2 March 1951 with RAF officers and other personnel seconded to the RCyAF. Ceylonese were recruited to the new RCyAF and several Ceylonese who had served with the RAF during WWII were absorbed in the force. Initial objective was to train local pilots and ground crew, early administration and training was carried out by exclusively by RAF officers and other personnel on secondment. The first aircraft of the RCyAF were de Havilland Canada DHC-1 Chipmunks used as basic trainers to train the first batches of pilots locally while several cadets were sent to Royal Air Force College Cranwell. These were followed by Boulton Paul Balliol T.Mk.2s and Airspeed Oxford Mk.1s for advanced training of pilots and aircrew along with de Havilland Doves and de Havilland Herons for transport use, all provided by the British. By 1955 the RCyAF was operating two flying squadrons based at RAF Negombo. The first helicopter type to be added to the service was the Westland Dragonfly.
Following Prime Minister S. W. R. D. Bandaranaike's negotiated the closure of British air and naval bases in Ceylon in 1956, the RCyAF took over the former RAF stations; Katunayake and China Bay, becoming RCyAF operational stations while ancillary functions were carried out at Diyatalawa and Ekala. The RAF headquarters, Air HQ Ceylon, was disbanded on 1 November 1957. However, RAF officers remained with the RCyAF till 1962.
In 1959 de Havilland Vampire jet aircraft were acquired, but the RCyAF did not put them into operational use and soon replaced them with five Hunting Jet Provosts obtained from the British, which were formed into the Jet Squadron. These were supplemented in the 1960s with various other aircraft, most notably American Bell JetRanger helicopters and a Hindustan HUL-26 Pushpak given by India. The force had grown gradually during its early years, reaching a little over 1,000 officers and recruits in the 1960s.
In 1968, the Royal Ceylon Air Force was looking out for a more capable multi-role aircraft, and evaluated foreign types like the F-86 Sabre, the Douglas A-4 Skyhawk, the Hawker Hunter and AMD's Mystère IV as well as the SMB.2. The decision fell on the supersonic Super Mystère, which was offered as a bargain from French surplus stock since the fighter was at that time in the process of being gradually replaced by the 3rd generation Mirage III. A total of eight revamped SMB.2s were procured, which conformed to the Armée de l’Air’s standard.
The machines arrived in early 1971 and were allocated to the newly established No. 3 Squadron, with tactical codes in the CF 601 - CF 609 range (CF 607 was not allocated out of superstition: no RCyAF/SLAF aircraft ever received a code with single numbers summing up to "13" or a multiple of it, and this "tradition" has been kept up until today! Even more weird: codes that openly sport a "13" are used - as long as the whole code number conforms to the cross total rule!). The SMB.2s were ready for operational service just in time when the Marxist JVP launched an island-wide insurrection on April 5. It was the first time that the Royal Ceylon Air Force actually went into combat, and the Ceylon Armed Forces were caught off guard; police stations island-wide and the RCyAF base at Ekala were attacked in the initial wave. Responding rapidly, the RCyAF deployed its limited aircraft resources, at first to resupply besieged police stations and military outposts and patrol around major cities.
The new SMB.2s were immediately thrown into the fray and supported by the Jet Provosts, which had been mothballed by 1970 and quickly put back into service within three days, carrying out attacks on insurgents. However, due to the lack of familiarity with the new supersonic type, results and operational readiness were rather poor. One SMB.2 (CF 602) was lost on the ground through artillery fire, while another one (CF 606) crashed into a hillside during a low-level attack against an insurgent stronghold. During this insurgency the left-leaning Bandaranaike government turned to the Soviet Union for more sophisticated weaponry and received five Mikoyan-Gurevich MiG-17F fighter bombers and a MiG-15 UTI trainer, as well as two Kamov Ka-26 helicopters meant for search and rescue and casualty evacuation. However, conditions were rather chaotic and Air Force personnel even joined in ground operations and the insurgents surrendered after about a month's fighting.
With Ceylon becoming a republic in 1972, the Royal Ceylon Air Force changed its name to the Sri Lanka Air Force (SLAF), along with all insignia. On March 31, 1976 the SLAF was awarded the President's Colour. That same year SLAF detachments, which later became SLAF stations, were established at Wirawila, Vavuniya and Minneriya. With the closure of Air Ceylon in 1978, its Hawker Siddeley HS 748 transport aircraft was taken over by the SLAF. By the early 1980s the Provosts and all of the Soviet aircraft had been taken out of active service and placed in long-term storage, leaving the air force only with five operational SMB.2 fighter bombers (a third SMB.2, CF 604, crashed over open sea after an engine failure and an ensuing fire. The pliot ejected sfaley, though, and was rescued). In order to fill the ranks, Sri Lanka procured another three Super Mystères from French overstock, which arrived later the same year, and they received the "safe" codes CF 610-612.
The refreshed small fleet was kept in flying condition and was mildly modernized with selected Sa’ar parts procured directly from Israel and integrated on site during major overhauls. Beyond some updated/additional avionics, recognizable only through two additional small blade antennae on the spine and under the fuselage, they also received an ILS system (with fairings for the respective antenna on the fin) as well as two extra hardpoints under the wing roots for light loads like air-to-air missiles. Shafrir AAMs and indigenous MERs for four 100 kg bombs were part of the equipment package from Israel, too. The updates were finished by 1982 and the SLAF Super Mystères were now primarily tasked with airspace patrols, even though they were not really effective in this role due to the lack of an onboard radar. Despite this change of core mission, they retained the tactical camouflage which the SMB.2s had been wearing since their delivery from France.
But this modest modernisation was only the beginning. Rapid SLAF growth began in the mid-1980s, when the Sri Lankan Civil War against Tamil separatists drew the service into a major, long-term security role. In 1982 the SLAF reactivated airfields at Batticaloa, Anuradhapura, Koggala and Sigiriya that had been disused since World War II, all later becoming SLAF Stations. During the First Eelam War between 1983 and 1987, the Air Force grew by nearly 50 percent. In 1987 the air force had a total strength of 3,700 personnel, including active reserves.
After the 1983 riots, the government worked rapidly to expand the SLAF inventory, relying largely on sources in Italy, Britain, and the United States. Because of tight budget constraints, the SLAF was compelled to refit a number of non-combat aircraft for military uses in counter-terrorism operations against Liberation Tigers of Tamil Eelam (LTTE) terrorists. The air force had now a fleet of approximately eighty aircraft, of which sixty-four were reported to be operational in early 1988. The SMB.2s were still in use, even though their small number made them rather ineffective and their appearances had a rather intimidating role. Nevertheless, they flew a considerable number of successful CAS missions against LTTE strongholds.
To increase its attack capability and eventually retire the Super Mystères in the mid-Nineties, the SLAF acquired in 1991 four F-7 Skybolts, three FT-7s and two Shenyang J-5s from China. Revamped IAI Kfir fighter bombers from Israel joined the SLAF soon, too. With these reinforcements the SLAF SMB.2's end came quicker than expected: the last flight already took place in October 1993, and all machines were scrapped, since they had reached the end of their airframes’ flying hours limit. They were not the last operational Super Mystères, though: the Hondurean air force kept their Sa’ars in service until 1996, when they were replaced with Northrop F-5Es.< i>
General characteristics:
Crew: 1
Length: 14.13 m (46 ft 4 in)
Wingspan: 10.51 m (34 ft 6 in)
Height: 4.6 m (15 ft 1 in)
Wing area: 32 m² (340 sq ft)
Empty weight: 6,930 kg (15,278 lb)
Gross weight: 9,000 kg (19,842 lb)
Max. takeoff weight: 10,000 kg (22,046 lb)
Fuel capacity: 2,000 kg (4,409 lb)
Powerplant:
1× SNECMA Atar 101G-2 afterburning turbojet engine,
33.3 kN (7,500 lbf) thrust dry, 44.1 kN (9,900 lbf) with afterburner
Performance:
Maximum speed: 1,195 km/h (743 mph, 645 kn) at 11,000 m (36,089 ft)
Maximum speed: Mach 1.12
Combat range: 870 km (540 mi, 470 nmi)
Ferry range: 1,175 km (730 mi, 634 nmi)
Service ceiling: 17,000 m (56,000 ft)
Rate of climb: 89 m/s (17,500 ft/min)
Wing loading: 281 kg/m2 (58 lb/sq ft)
Thrust/weight: 0.5
Armament:
2× 30 mm (1.18 in) DEFA 552 cannons with 150 rounds per guns
6× external hardpoints for a total payload of 2,680 kg (5,000 lb), including a variety of air-to-air
missiles, unguided missile pods, bombs, reconnaissance pods or drop tanks
The kit and its assembly:
A very simple what-if model, just built OOB but outfitted with an exotic livery and background story. I recently acquired a cheap Special Hobby dual SMB.2 combo including a booklet – a steal, and I could not resist, knowing, though, that the Super Mystère is a rather tough cookie to whif. At first, I considered a South American operator (Ecuador or Venezuela, who would later switch to the Mirage III/V), but remembered a MiG-17 decal sheet (Carpena 7244) in The Stash™ that offered markings for a SLAF Fresco. I had always liked these colorful air force markings, and even though the procurement of French aircraft by Sri Lanka appear far-fetched, I just thought “When Honduras can buy stuff from Israel, anything goes.” Et voilà, the SLAF SMB.2 was born.
The Special Hobby kit is very nice. It features lots of exact and crisp 3D surface details, has a very good fit and offers many extra parts, so that both original SMB.2 and the Sa’ar with its longer jet pipe and additional hardpoints can be built. The only thing that caused some concerns is the fuselage, which is packed with interior details: beyond the cockpit with a wide tub and a free-standing dashboard(!), there's also a complete air intake duct with a compressor dummy at its end (probably only visible later with an endoscope?) and the whole afterburner pipe in the tail. The kit only lacks an engine dummy! Especially the front, with the cockpit and the intake duct (including the fully detailed front lang gear well) stacked upon each other, make the closing of the fuselage halves a challenge. It works, somehow, but it's a tight affair. As a result, though, I also had serious fit issues with the air intake, which is supposed to be grafted onto the fuselage and the intake duct at the same time. This did not work and became the biggest PSR area on the whole model.
For a little hardware whiffery, I gave the aircraft the two extra wing root hardpoints and a pair of Shafrir AAMs from the kit as ordnance, plus a pair of 625l drop tanks. Another small detail I added are the lowered flaps - this could be easily realized. Opening the air brakes on the fuselage is not an OOB option on this kit, probably because of the many engine details that fill the area behind them. As another deviation from the standard I left the landing gear covers open - normally, these were closed on the ground, but I have seen several pictures of French and IDF SMB.2s with fully open covers on the ground that this decision appreared plausible. However, the rest is OOB, since I wanted to stay close to the original SMB.2 standard.
Painting and markings:
This was a little tricky. The early SLAF aircraft carried a simple silver or light grey livery (e.g. the Jet Provosts or the MiG-17s, respectively), while later types like the Kfirs and the MiG-27s received a two tone (very) light grey livery with very small national markings and codes. NMF or silver might have been a plausible choice for the model's intended time frame, maybe even adorned with some flashy red trim, but as a tactical aircraft I settled upon a camouflage scheme.
This was based upon the SMB.2’s French origins and is a faithful adaptation of a unique scheme that Super Mystères operated by the Armée de l’Air’s EC 1/12 "Cambresis" or EC 1/10 "Valois" wore in the late Sixties/early Seventies. I was not able to find convincing information about the disruptive scheme' intention - I assume that it was an experimental alternative to the USAF-SEA-scheme that was also adapted for the French F-100 fighter bombers at that time, even though executed with indigenous CELOMER paints that were somewhat darker.
I was furthermore not able to come up with useful information concerning the tones of this camouflage. Some sources suggest the classic SEA scheme tones, but I doubt that. When looking at pictures of operational aircraft, the uppwer tones look very different, even when faded and worn. Especially the tan tone appears much lighter and rather yellow-ish, while the two greens have a rather greyish/dull hue and are hard to distinguish. The whole affair almost looks like a desert scheme, esp. when weathered! AFAIK this scheme was nicknamed “Israel”, but it had apparently nothing to do with the IDF? The only reason could be that this was a scheme devised and tested to SMB.2 sales to Israel - but the first machines were delivered in NMF and later French machines retained their original camouflage at first, AFAIK no SMB.2 was handed over to the IDF in this livery? Weird.
However, I decided to use this scheme for the SLAF model. The basic colors were chosen on the basis of some good real-life pictures. The tan became Humbrol 237 (Desert Tan), Tamiya XF-65 (Field Grey) and XF-61 (RAF Dark Green), with light grey undersides in 166 (RAF Light Aircraft Grey) and a straight waterline.
The cockpit interior was painted in very dark grey (Revell 09, Anthracite), while the landing gear wells became Humbrol 81 (Chrome Yellow primer), with the landing gear and the inside of the covers as well as the air intake duct in aluminum (Humbrol 56). Di-electric fairings on the fin and the spine were painted in light greys, Humbrol 196 and Revell 75.
The SLAF SMB.2 was supposed to show a (very) worn aircraft, matching the backgorund story. Therefore, the kit received a thorough black ink washing and post panel shading in order to simulate lots of wear and the influence of tropical climate close to the equator. Some additional repair paint patches were added, too, for an even shaggier look.
The few and simple markings came all from the aforementioned MiG-17 sheet, the stencils from the OOB sheet. The tactical code was modified from the original CF 903 into an earlier CF 603 through a digit switch, and since this marking alone (placed at the fin root for good visibility) appeared a bit wee, I added "03"s in black to the nose and the front landing gear cover (taken from an Argentinian Super Étendard, Airfix).
BTW, the "13" superstition nerd fact is true!
After some more weathering through dry painting, esp. with silver around the leading edges and with iron metallic around the rear fuselage and some dirt/soot stains with graphite the model was sealed with matt acrylic varnish.
Simple, but exotic, I’d say, and I like the outcome a lot. The paint scheme already looks unusual, even though it has been patterned after a real world benchmark. But together with the colorful SLAF markings and some serious weathering, the whole package looks pretty weird but also believable. A classic what-if model! 😉