View allAll Photos Tagged Staking
Can you believe my hubby doesn't like this?? He likes the idea but doesn't like the plates, oh well, to each his own!
HERDENKING FEBRUARI-STAKING:AMSTERDAM;25FEB2010- Op donderdag vond bij het standbeeld 'De Dokwerker' onder grote publieke belangstelling de jaarlijkse herdenking plaats van de Februari-staking (1941). Foto: publiek tijdens de plechtigheid. Fotograaf Michael Jacobs
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I feel it is my honour but also my duty to be present at the February Strike memorial every year in Amsterdam.
I look a bit tired and upset because I was.
Worked trough the night and when I got there I realised once more that some of the resistance heroes I have come to know very well were not there this year and it made me worried about their health.
I am wearing 3 WW2 coins as people during the war and my red tulips (red for socialism, tulips for Holland) are wrapped in a 1930s newspaper.
I wanted to use a WW2 newspaper first but didn't feel comfortable leaving one at the monument as all the newspapers were of course pro nazi.
I thought about using a underground newspaper but didn't feel comfortable with using one of those to wrap flowers in.
History of the February Strike;
In February 1941 anti-Jewish riots were provoked in Amsterdam by Dutch Nazi sympathisers, protected by the German authorities. This started the first - and only - massive protest against the anti-Jewish measures in any occupied country during the war.
On feb 9th jewis artists were performing in the Alcazar Cabaret on the Thorbecke-Plein. Members of the WA ("Weer Afdeling" a uniformed and lightly armed section of the Dutch Nazi Party, NSB) threw bicycles through the windows of the building, smashed the interior to smithereens and harassed people inside.
It is often forgotten that the Dutch police tried to stop this but was pushed aside and then stopped from intervening by German soldiers who soon joined the horrible behaviour of the WA.
The thugs then moved into the nearby Jewish quarter (mostly referred to as the “Jodenhoek” (Jews Corner)), molested people and rifled their houses. Heavy fighting occurred on the Waterloo-Plein, the centre of the Jodenhoek. Because no protection was provided by the police against these WA gangs, the Jews in the Jodenhoek initiated the formation of fighting squads to protect themselves. In addition, non-Jewish neighbours and workers from the nearby neighbourhoods of Kattenburg and the Jordaan participated in these squads.
On the evening of 11 February 1941, WA men again entered the Jodenhoek. New fighting in the streets occurred. A WA man Hendrik Koot, was severely injured. He died three days later from his wounds. The Germans and the NSB used this dramatic event for propaganda purposes, for did it not prove how dangerous these Jewish terrorists were? In the NSB newspaper Het Nationale Dagblad (The National Daily) a picture was shown of three of these “terrorists”, armed with canes and axes. In fact these were just arbitrarily arrested boys, who were posed for the photographer with the weapons in their hands.
On 12 February 1941, using fences and barbed wire, the Jodenhoek was cut off by the Orpo. The well known signs "Judenviertel / Joodsche Wijk" were fixed in place. Jewish houses were searched for weapons. That same day a diamond dealer, Abraham Asscher, was ordered to form a "Joodsche Raad voor Amsterdam" (Jewish Council for Amsterdam), to help restore peace in the city.
This council soon became a very powerful Nazi weapon, trying to help their own people and avoid more trouble, the jews in this council helped the Germans round up and export the Dutch jews without much hinder.
Two days later another violent incident occurred. A unit of the "Grüne Polizei" (Green Police) patrolled in the Van Woustraat and entered an ice cream shop named Koco.
The shop was frequented and used by a small group of people who resisted the Germans.
Some of the patrons of this shop had decided that the shop had to be protected against the WA and had installed a device that could shoot ammonia gas at the door entrance.
When members of the Grüne Polizei raided the place this happened and several people were arrested.
One of the owners of Koco, Ernst Cahn, was tortured but refused to tell who installed the ammonia faucet and was then executed.
The first person to be killed by the Germans for acts of resistance.
This incident made a great impression on the German occupiers. Rauter wrote a report to Himmler about the incidents in the Jodenhoek in the most vivid terms.
An "adequate" answer was given to these "provocations" on 22 and 23 February 1941. A massive round up, the first of its kind in Holland, was held at the Jonas Daniël Meijerplein and the surrounding streets. 600 men of the Orpo, armed with machine guns, humiliated Jews and beat them up. Eventually 389 men were arrested, transported to the police camp (Internierungslager) in Schoorl, 50 km north of Amsterdam, and a few days later were sent from there to KZ Buchenwald, where many of them died. After 4 months the survivors were deported from Buchenwald to KZ Mauthausen. There all but one of them died from torture and exhaustion.
"Protest against the awful persecution of Jews!!!" was the title of a pamphlet, issued on 25 February 1941, in which workers of all kinds of enterprises were encouraged to go on strike:
Organize a protest strike in all enterprises!!!
Fight unanimously against this terror!!!
Require immediate freedom for the arrested Jews!!!
Require the dissolution of WA terror groups!!!
Organize self-defence in enterprises and neighbourhoods!!!
Show your solidarity with the severely hurt Jewish part of the working people!!!
Protect Jewish children from the Nazi violence by taking them into your families!!!
The initiative was taken by illegal left wing opposition groups like the former Dutch communist party who simply used the widespread feeling of anger. The appeal was honoured by thousands of people in Amsterdam, but also in towns nearby such as Zaandam, Haarlem, Hilversum, Weesp, and in other places. No trams were seen in the streets of Amsterdam, people assembled and marched up to the Dam Square and the Northern Market in the city centre: a unique manifestation of solidarity. The German occupying troops were completely surprised. But they made several charges to disperse the crowds, and by 7:30 p.m. the situation in the city centre returned to normal. Some 200 people were arrested and mistreated at the Lloyd Hotel. By 27 February the strike was beaten down with terror and violence.
On 13 March 1941, together with 15 members of an illegal resistance group "De Geuzen", three of the strikers were executed by a firing-squad after a show trial. A Dutch poet, Jan Campert, wrote a poem about this execution, "De achttien dooden" (The 18 dead). Campert died later in KZ Neuengamme, in unclear circumstances.
The news from Buchenwald, and especially from Mauthausen, of so many dead during the following months, had an enormous impact on the population and its jews.
People knew that if they resisted and and didn't follow German orders they would go to these camps where they would die.
If they listened they would go to the east, to camps where perhaps life was better... of course this was not the case.
But after this there was little or no resistance from the Jewish people in the Netherlands.
Only 1 in 7 wanted or tried to find a hiding place.
Hubby has a cold. I don't want it. He's staked out the study, where my Nikon goes to talk with the Big Computer, effectively making the room Off Limits.
Soooo here an iPhone shot of my Nikon's LCD, showing the picture I took yesterday, demonstrating Zachary's Bucket List item of being a Pirate.
Our Daily Challenge: Bucket List
Daily Dog Challenge: I Don't Think So
Stop on by Zachary and Henry's blog: bzdogs.com - The Secret Life of the Suburban Dog
Woodruff, Utah
We passed this of old house on the way to Bear Lake and on the way home I had to stop and take some photos.
One from the archives. I was deleting unused shots and came across loads of pics that I was previous unable to process. I hate to think what I’ve deleted in the past that I could whip into some sort of shape now.
This is the spot where the last (?) witch (?) in Scotland was burnt alive. It's still a site of reverence/pilgrimage/devotion/anger with small offerings crammed into the cracks between the rocks. I love these kinds of places.
Brand: Maisto
Series: N/A
Livery: Yellow stripe, TONKA, recycle logo
Scale: 1/64
Base: - ©2009 Tonka / Hasbro
Collector/casting number: 0932
Country of manufacture: China
Place/date of purchase: Value Village 2020
Condition: Light play ware 8/10
Remarks/comments:
"Suurbraak, "A Place called Paradise" is a quaint village, nestled amongst streams of running water and sheltered by giant oaks, situated 19 km east of Swellendam, 10 km off the N2. The traveler encounters the town unexpectedly along the Tradouws River at the foot of the Langeberg Mountains. It lies about 5 km west of the majestic Tradouws Pass, on route between Swellendam, Barrydale and Heidelberg. The village is well worth a visit for tourists who wish to explore.
This traditional settlement drew the interests of the missionaries. It was established as a mission station in 1812 by the London Mission Society and later in 1875, taken over by the Algemeende Sending Kerk. In 1880 the Anglican church and school was built as a result of a split in the congregation. Community involvement in the church remains strong. The buildings of the village tell the story of its history. The first church, the parsonage and school, together with the old houses and buildings around the village square have been restored and are in use, as well as the Anglican church building. All are situated on the main road through the town" www.viewoverberg.com/Towns_Towns/Suurbraak.asp
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The next chapter in my portfolio is an extensive collection of sepia monotone photos taken throughout South Africa, the continuation of taking photographs anywhere and everywhere I find the opportunity to do so....
What attracted my attention was the lone umbrella on this large beach and in particular the bright green against the sand and blue sky. Noordhoek, Cape Town taken in December.
Relationship to Mazda 323:
The Ford Laser was a restyled version of the Familia/323 models produced by Mazda in Japan from 1980 onwards. Ford had acquired a 25% stake in Mazda in 1979.
In Australia, New Zealand and Europe where Ford was seen as a 'local' brand, the Laser outsold its Mazda twin, but in neighbouring Asian countries, such as Singapore, Malaysia and Hong Kong, as well as Japan itself, the reverse was the case. However, pooling resources with Mazda allowed Ford to maintain a foothold in the region. This was also the case in South America, Africa, and the Caribbean, where the Laser was also sold, in many cases being locally assembled.
KA/KB (1981–1985)
The KA Laser, built under license from Mazda, was introduced in March 1981. In January 1983 it underwent a facelift to become the KB.[8] Light changes were made to the rear, while the front was redesigned in a more modern style, aligning it with Ford's corporate look of the era. Originally sold only with the 1.3 liter engine, the smaller 1.1 liter engine was never available in Australia. Later, 1.5 liter versions were added, eventually even a turbocharged version.
Aside from being built in Australia and Japan, some Lasers were also assembled in New Zealand. New Zealand-built Laser hatchbacks were available with the 1.1 liter (Ritz), 1.3 liter (GL), and 1.5 liter (Sports) engines, while the Laser sedan (L, Ghia) was not available with the 1.1 liter engine. In some countries, such as Australia, the four-door saloon bodystyle was marketed as the "Ford Meteor".
[Text taken from Wikipedia]
The Laser marked the first public vehicle change in the transition from Ford of Europe products to Ford Asia-Pacific (for now focused on Mazda, but later to include KIA from Korea).
The Laser was also the first front-wheel-drive Ford available in Australia. Curiously, the original remit for the Fiesta program was to have manufacture and assembly in Australia, beginning in 1976. Also, the Escort MkIII transitioned to a front-wheel-drive architecture in 1980. Perhaps the coinciding launch of the 1979 Ford Falcon XD was seen to be of greater financial focus, and Ford wished to maximise the return on their Mazda investment in the region.
The Laser nameplate went on to be a top seller in early years, and continued in Australian manufacture and assembly, in Sydney's Homebush Plant, until 1994.
This Lego miniland-scale Ford KA Laser Ghia Hatchback has been created for Flickr LUGNuts 85th Build Challenge, - "Like, Totally 80's", - for vehicles produced in the decade of the 1980s.
Move over stake bed... a prominent oil tycoon has been shot!
1:64 GreenLight Collectibles:
1977 AMC Matador
Dallas Fire Department
Battalion Fire Chief
City of Dallas, Texas, USA
Fire & Rescue Series 3
#1stPix64FR
Olympus OM-D E-M5 Mark III
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ:
(Updated June 2023) 1stPix FAQ
This is a 1956-1957 Chevy 6500 medium duty truck, photographed in Butte, Montana. The Chevy Task Force and GMC Blue Chip series pickups & commercial trucks were introduced in mid 1955. They were produced through 1959 with a significant update for model year 1958.
Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series my second restoration of a stake bed. I like this color and I think it shows pretty good in the photos. Here it is as a bob tail, I like how it looks. What to add?
I have some pens and pencils.
A moleskine.
And a head full of quotes, lyrics and the like.
Come and see them at quoteskine.tumblr.com
Taken in 2004.
People staking claims along the Charles River Esplanade for where they'll sit to listen to the Boston Pops' 4th-of-July Concert and watch the fireworks display afterward.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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