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World Environment Day (WED), commemorated each year on 5 June, is one of the principal vehicles through which the United Nations stimulates worldwide awareness of the environment and enhances political attention and action. How times have changed since World Environment Day was launched by the United Nations General Assembly 37 years ago. We wonder if they considered then that today climate change, global warming, and other environmental impacts would have such an impact on world hunger and poverty.
Agriculture, which uses roughly 40 percent of the world's land, will be deeply affected by climate change in the coming years. In 2007, the Intergovernmental Panel on Climate Change predicted that warming will lead to pest outbreaks, that climate-related severe weather will impact food security, and that rising temperatures will hurt production for farms in equatorial areas. Global warming could mean big business for greedy agriculture giants.
Combating man-made climate change and making the planet greener and cleaner is an issue for everyone. Climate change is no longer a distant, futuristic scenario, but an immediate threat. The impacts of climate change are unimaginable, shocking and going to be much worse than what we had anticipated today. Climate change offers humanity no second chances. We should find a way to measure the general well-being of the people and planet rather than just raw economic growth.
Like the carbon footprint, water footprints are one of the latest methods scientists and policy makers are using to assess humanity's impact on the planet. And now businesses are starting to use water footprinting as well. We can calculate our water footprint “here”.
We don't need to wait for governments to find a solution for global warming. By making simple changes in our life, we can reduce our carbon and water footprints and helps stop global warming. We Can Easily Green our Daily Routine and reduce the Global Warming phenomenon. View Tips “here”.
You can Join the Plant for the Planet: Billion Tree Campaign “here”.
Our Planet Needs us!
Unite to Combat Man-made Climate Change!
Invest in the Green Economy!
Encourage Slower Population Growth!
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Photo: Firoz Ahmad Firoz
Model:
Apparel:
Canon EOS 5D MK III
Sigma 35mm f/1.4 ART
TV 1/2000
AV 1.4
ISO 100
Post - Production with Photoshop
This image has been rather tricky both in its making and post processing.
First, the location. Well it’s as about as photogenic and evocative a scene as you can find. Not only is it hard to get to and after miles of twisty single track roads, it feels like major achievement to actually get there. It has wonderfully smooth, sand polished slate outcrops (conveniently graphical), but not just a few, hundreds of them! The incoming tides protrude towards you at different speeds (I assume due to the width and particular geology creating drag on the water), which offers richness to the photographic opportunities when it comes to movement, (incoming and receding water creates different forms and textures). It also has the advantage of being west facing, and here comes its one aberration, it’s exceeding tricky to work with the setting sun at this time of year to create a balanced composition. Yes I could go towards the end of September, when the sun would be at the end of the beach, but then again it would probably be too easy and predictable (I can’t anyway).anyway, the graphic angles take your eye in the wrong direction and it feels like your making two separate images every time you direct your attention towards the drama.
You should have seen me in this 5 minute period before the sun popped out beneath the cloud bank, knowing that it would illuminate the scene perfectly, knowing that I was going to have only one shot at this location, literally (30 seconds of illumination to be accurate) and knowing that I had to find a composition that would balance every element and that I would have the opportunity like this again. As you can imagining I hurdled the outcrops faster than a world champion and by the time I found this interesting, moderately graphic foreground rock I was totally soaked, breathless and almost ready to make the best of the elements before me. Anyway I made this image and walked back to the car dripping wet but happy.
Now the second part to this image is the processing, well as you can see, it’s a thorny customer. The dynamic range is massive and processing a balance believable single image was (and is) fiddly. Well as you can see it’s a high contrast movement image. The medium length of exposure has taken just a tad too much movement out of the water than I’m happy with, but the imbalance in the centre of the image needed most of the attention. Anyway, even considering the technical post processing challenges, for me this image works. Yes if you’re a pixel pushing, 100% viewing photographer, then you’re going to point out that I’ve lost detail in the shadows and the dynamic range isn’t working, but if it makes you happy to tell me then cool, bring it on! And I see this may should like an excuse, But for me photography is fundamentally about how the images stimulate our primitive deep brain not the frontal hemisphere.
i.e. stimulate my mind, and my heart will follow. you may be thinking this is along the same vein as yesterday's secret, but the real secret in this one is that i'm a huuuuge nerd ("but that's no secret, sash! ha ha ha!" i know). if you really want to make me melt, quote shakespeare at me, and i am all yours. but before you do, you had better make sure that you know who said it in which play and in what context because god knows i know my shakespeare, and shakespeare quotations out of context make me cringe.
Yellow is the color of sunshine. It's associated with joy, happiness, intellect, and energy. Yellow produces a warming effect, arouses cheerfulness, stimulates mental activity, and generates muscle energy.
El té es una de las bebidas con más tradición del mundo. Su consumo es un ritual de comunicación usado por muchas civilaciones. Sus orígenes son desconocidos, pero no sus diversas propiedades. Según la tradición, es un revitalizador del cuerpo y el espíritu. Entre sus muchas propiedades se encuentan las de activar la circulación, ayudar a digerir, ahuyentar la fatiga y estimular la mente y el ánimo.
Tea is one of the most traditional drinks in the world. Its consumption is a ritual of communication used by many civilizations. Its origins are unknown, but not its various properties. According to tradition, it is a revitalizer of body and spirit. Among its many properties are those of activating circulation, helping to digest, driving away fatigue and stimulating the mind and spirit.
Model:
Apparel:
Canon EOS 5D MK III
Sigma 35mm f/1.4 ART
TV 1/1600
AV 1.4
ISO 100
Post - Production with Photoshop
This position would be especially logical if one believed that the fluids themselves were being recycled to nourish body tissues.The future has always been surprising. The body is loaded with 100% optimism. It’s just like you don’t have any timeTaoist alchemy and Kundalini yoga, in their respective ways, are religious traditions based on an imperative of rational, yet creative,experimentation with the relationship of the internal body to objects in the outside world, and the relationship of human physical energy with the abstracted realms of religious symbolism and ontological beliefs. Both systems present a picture which is not entirely comprehensive by the methods and assumptions of modern science. Yet these types of traditions may have something useful to teach us, if we can analyze their beliefs and practices within the historical and cultural context in an effort to understand them as they were, and as they are, within their individual cultural framework. Scientific methods such as neurobiology can give us some insight into the basic underlying causes of human experience, yet will never be able to fully explain the phenomenological idiosyncrasies of religious ritual. With this in mind, we can apply the knowledge of modern science to the study of ancient religious in a responsible and realistic way. Taoist and Tantric sexual practices conserve and utilize the precious energy within the genital fluids. The vital forces energies that sustain life are ojas and prana. One particular type of prana is kundalini or shakti. The Taoist equivalent is ching. By murmuring this energy, life is enriched and preserved. By squandering it, health suffers and death results, Yogys believe kundalini energy is coiled up like a serpent at the base of the spine to the pineal gland in the brain, and enlightenment is attained. The kundalini energy flows through the chakras, energy centers in your subtle body related to the endocrine glands. The endocrine glands are fed by your body’s central heating system, the sexual center. If that center is weak, you entire system is weak. If that center is functioning optimally, the body can survive indefinitely. Taoist and Tantric techniques strengthen the sexual chakra. Their methods conserve its precious fluids and also pump these nourishing fluids back into the body, directing them to the endocrine glands. This technique stimulates the production of ojas and soma. The only caution about Taoist and Tantric sexual practices is the following: because of the tradition of patriarchal oppression, many of theses practices are designed solely for the male to attain immortality, often at the expense of young, ignorant, inexperienced girls, whose vitality {shakti } is drained from their bodies. The male is cautioned to never let semen leave his body, to practice coitus reservatus, stopping short of ejaculation. Yet he is advised to bring his partner to orgasm repeatedly. With his sperm held in check and his vital energy pumping back into his system continually, he invigorates and rejuvenates his body. Also pumping the energy and fluids of the female into his body at the time of her climax, he obtains her vitality as well. Practitioners are advised to engage in this female-draining activity a dozen or more times a day with several 14-to 19 year old virgins. Innocent females are victims of this crime against their health, driving them to early grave.
On other hand, when both partners ate fully knowledgeable and experienced in Taoist or Tantric sexual practices, a mutually beneficial, enriching, elevating relationship can growth is only possible with mutual respect, love, honesty, commitment, and trust. When partners recognize and worship each other as divines beings, there can be an exchange of divine energy in both body and Spirit.How does this move in the body? If we cannot see it, does it really exist? Science is only just getting a few tests going that prove energy is in the body and around it. Is it real what the Ancient wisdoms teach us? Can it guide us to oneness and conscious awakening?
It has been a long road for those in the energy field of health getting the message across to the general population that energy is everywhere, particularly in the body. With proof, barriers seem a lot easier to free up. Oriental medicine and Ayurvedic medicine are the clearest and longest standing observational sciences that describe and fully believe that energy exists as long as 5000 years ago. Both have movement medicine in the forms of Yoga and Qigong.
As I already discussed in the previous article Bring the energy home, there is a cycle called the Microcosmic cycle which when experienced connects the front and back energy meridians. Also called the Governing and Conception channels, in Oriental medicine a further 12 major channels exist that run up and down the body through the limbs, arms and legs (6 Yin and 6 Yang).These energies connect to the sun (yang) and moon (yin) influences. Predominantly yang energy in the morning and more yin energies in the afternoon, changing again after midnight. Then more yang energies developing until we awake and the body starts to function optimally again in the awakened state.The logograph 氣 is read with two Chinese pronunciations, the usual qì 氣 "air; vital energy" and the rare archaic xì 氣 "to present food" (later disambiguated with 餼). Pronunciations of 氣 in modern varieties of Chinese with standardized IPA equivalents include: Standard Chinese qì /t͡ɕʰi⁵¹/, Wu Chinese qi /t͡ɕʰi³⁴/, Southern Min khì /kʰi²¹/, Eastern Min ké /kʰɛi²¹³/, Standard Cantonese hei3 /hei̯³³/, and Hakka Chinese hi /hi⁵⁵/. Pronunciations of 氣 in Sino-Xenic borrowings include: Japanese ki, Korean gi, and Vietnamese khi. Reconstructions of the Middle Chinese pronunciation of 氣 standardized to IPA transcription include: /kʰe̯iH/ (Bernard Karlgren), /kʰĭəiH/ (Wang Li), /kʰiəiH/ (Li Rong), /kʰɨjH/ (Edwin Pulleyblank), and /kʰɨiH/ (Zhengzhang Shangfang). Reconstructions of the Old Chinese pronunciation of 氣 standardized to IPA transcription include: /*kʰɯds/ (Zhengzhang Shangfang) and /*C.qʰəp-s/ (William H. Baxter and Laurent Sagart). The etymology of qì interconnects with Kharia kʰis "anger", Sora kissa "move with great effort", Khmer kʰɛs "strive after; endeavor", and Gyalrongic kʰɐs "anger".The earliest texts that speak of qi give some indications of how the concept developed. In the Analects of Confucius qi could mean "breath". Combining it with the Chinese word for blood (making 血氣, xue–qi, blood and breath), the concept could be used to account for motivational characteristics:
The [morally] noble man guards himself against 3 things. When he is young, his xue–qi has not yet stabilized, so he guards himself against sexual passion. When he reaches his prime, his xue–qi is not easily subdued, so he guards himself against combativeness. When he reaches old age, his xue–qi is already depleted, so he guards himself against acquisitiveness.— Confucius, Analects, 16:7
The philosopher Mozi used the word qi to refer to noxious vapors that would in eventually arise from a corpse were it not buried at a sufficient depth. He reported that early civilized humans learned how to live in houses to protect their qi from the moisture that troubled them when they lived in caves. He also associated maintaining one's qi with providing oneself with adequate nutrition. In regard to another kind of qi, he recorded how some people performed a kind of prognostication by observing qi (clouds) in the sky. Mencius described a kind of qi that might be characterized as an individual's vital energies. This qi was necessary to activity and it could be controlled by a well-integrated willpower.page needed] When properly nurtured, this qi was said to be capable of extending beyond the human body to reach throughout the universe. It could also be augmented by means of careful exercise of one's moral capacities.[14] On the other hand, the qi of an individual could be degraded by adverse external forces that succeed in operating on that individual. Living things were not the only things believed to have qi. Zhuangzi indicated that wind is the qi of the Earth.Moreover, cosmic yin and yang "are the greatest of qi".He described qi as "issuing forth" and creating profound effects.[15] He also said "Human beings are born [because of] the accumulation of qi. When it accumulates there is life. When it dissipates there is death... There is one qi that connects and pervades everything in the world." Another passage traces life to intercourse between Heaven and Earth: "The highest Yin is the most restrained. The highest Yang is the most exuberant. The restrained comes forth from Heaven. The exuberant issues forth from Earth. The two intertwine and penetrate forming a harmony, and [as a result] things are born." The Guanzi essay Neiye (Inward Training) is the oldest received writing on the subject of the cultivation of vapor [qi] and meditation techniques. The essay was probably composed at the Jixia Academy in Qi in the late fourth century B.C. Xun Zi, another Confucian scholar of the Jixia Academy, followed in later years. At 9:69/127, Xun Zi says, "Fire and water have qi but do not have life. Grasses and trees have life but do not have perceptivity. Fowl and beasts have perceptivity but do not have yi (sense of right and wrong, duty, justice). Men have qi, life, perceptivity, and yi." Chinese people at such an early time had no concept of radiant energy, but they were aware that one can be heated by a campfire from a distance away from the fire. They accounted for this phenomenon by claiming "qi" radiated from fire. At 18:62/122, he also uses "qi" to refer to the vital forces of the body that decline with advanced age. Among the animals, the gibbon and the crane were considered experts at inhaling the qi. The Confucian scholar Dong Zhongshu (ca. 150 BC) wrote in Luxuriant Dew of the Spring and Autumn Annals:[17] "The gibbon resembles a macaque, but he is larger, and his color is black. His forearms being long, he lives eight hundred years, because he is expert in controlling his breathing." ("猿似猴。大而黑。長前臂。所以壽八百。好引氣也。") Later, the syncretic text assembled under the direction of Liu An, the Huai Nan Zi, or "Masters of Huainan", has a passage that presages most of what is given greater detail by the Neo-Confucians: Heaven (seen here as the ultimate source of all being) falls (duo 墮, i.e., descends into proto-immanence) as the formless. Fleeting, fluttering, penetrating, amorphous it is, and so it is called the Supreme Luminary. The dao begins in the Void Brightening. The Void Brightening produces the universe (yu–zhou). The universe produces qi. Qi has bounds. The clear, yang [qi] was ethereal and so formed heaven. The heavy, turbid [qi] was congealed and impeded and so formed earth. The conjunction of the clear, yang [qi] was fluid and easy. The conjunction of the heavy, turbid [qi] was strained and difficult. So heaven was formed first and earth was made fast later. The pervading essence (xi–jing) of heaven and earth becomes yin and yang. The concentrated (zhuan) essences of yin and yang become the four seasons. The dispersed (san) essences of the four seasons become the myriad creatures. The hot qi of yang in accumulating produces fire. The essence (jing) of the fire-qi becomes the sun. The cold qi of yin in accumulating produces water. The essence of the water-qi becomes the moon. The essences produced by coitus (yin) of the sun and moon become the stars and celestial markpoints (chen, planets).— Huai-nan-zi, 3:1a/19 Characters In Yoga they talk of Ida and Pingala channels and a central channel called Sushumna with very many Nadis connecting our energy back to our Chakras. This Kundalini shakti energy moving systematically when ready to the top most Chakra Sahasara and then connects to the Supreme shiva and universe.
This energy is also affected by our emotions, the food we eat, and how we move this energy i.e. with Qigong and Yoga and how well we relax. Learning these skills help develop and refine this energy and maintain a storage where we can then start to develop longevity and preserve our inherited energy from our family.We are also affected energetically by our environment, particularly magnetic waves, microwaves sonic waves, radio waves, TV signals, mobile phones and so on. The long term effect has not been fully understood, our body’s energy is at the mercy of these frequencies unless we learn energy techniques to take control of these movements and redirect the flow. Managing our bodies and its needs sometimes can feel overwhelming but with the correct help and attitude we can soon feel the benefits of repeated Qi flow and awakened consciousness.
Yoga also uses movement to connect ourselves to the universe. We can learn so much from these practices about our bodies and how to get into a flow that benefits mind, body, and spirit. My experience when studying Kundalini Yoga was a very powerful one. Kundalini is known as the mother Yoga and when followed by its principles and ancient wisdom, allows for natural movement of the Kundalini. This is a simple but effective Yoga, often postures being held and breath sequences and Bhandas used to help move energy. Meditations and Mantras with Mudras further help reconnect the spirit and open us to the universal oneness. Both Qigong and Yoga have deep understanding of our energetic connections and make use of techniques and principles that guide us safely back to our spiritual home and beyond. Having studied and experienced both of these models extensively, I feel privileged to have great teachers and the opportunity to pass onto others these great energy healersIn Hindu philosophy including yoga, Indian medicine, and martial arts, Prana (प्राण, prāṇa; the Sanskrit word for "life force" or "vital principle")[1] comprises all cosmic energy, permeating the Universe on all levels. Prana is often referred to as the "life force" or "life energy".[not verified in body] It also includes energies present in inanimate objects.[not verified in body] In the Hindu literature, prana is sometimes described as originating from the Sun and connecting the elements of the Universe. This life energy has been vividly invoked and described in the ancient Vedas and Upanishads.[not verified in body. In living beings, this universal energy is considered responsible for all bodily functions through five types of prana, collectively known as the five vāyus. Ayurveda, tantra and Tibetan medicine all describe praṇā vāyu as the basic vāyu from which all the other vāyus arise. Indologist Georg Feuerstein explains, "The Chinese call it chi, the Polynesians mana, the Amerindians orenda, and the ancient Germans od. It is an all-pervasive 'organic' The ancient concept of prana is described in many early Hindu texts, including Upanishads and Vedas. One of the earliest references to prana is from the 3,000-year-old Chandogya Upanishad, but many other Upanishads also make use of the concept, including the Katha, Mundaka and Prasna Upanishads. The concept is elaborated upon in great detail in the practices and literature of haṭha yoga, tantra,and Ayurveda. Prana is typically divided into multiple constituent parts, in particular when concerned with the human body. While not all early sources agree on the names or number of these subdivisions, the most common list from the Mahabharata, the Upanishads, Ayurvedic and Yogic sources includes five, often divided into further subcategories.This list includes: Prana (inward moving energy), apana (outward moving energy), vyana (circulation of energy), udana (energy of the head and throat), and samana (digestion and assimilation).[citation needed] Early mention of specific pranas often emphasized prāṇa, apāna and vyāna as "the three breaths". This can be seen in the proto-yogic traditions of the Vratyas among others.[6]:104 Texts like the Vaikānasasmārta utilized the five pranas as an internalization of the five sacrificial fires of a panchagni homa ceremony.[6]:111–112 Vāyus
Poren Huang (Chinese: 黃柏仁, born 1970), a Taiwanese sculptor, was born in Taichung, located in central Taiwan. His grandfather and parents engaged in wood carving business.During the 1970s, Poren Huang's father, Mingde Huang, had a successful wood carving industry and huge export volume. As a major wood carving factory in Taiwan,the factory employed more than 100 craftsmen to produce wood handicrafts during peak seasons. Mingde Huang expected his son Poren Huang to inherit the family business, but Poren Huang preferred artistic creation to wood handicraft production, resulting in years of differences between the father and son. In 2005, Poren Huang fully expressed his ideas through his series of works, The Dog's Notes. Although he and his father held different viewpoints, he highly values family interaction. He focused on mending his family relationship before pursuing his personal ambition, and some of his works in The Dog's Notes strongly convey enlightenment and morality.After World War II, with the recovery of the global economy, prosperity and focus on human rights, the hard work of the previous generation is often reciprocated with the disregard, self-centeredness, mockery and impiety of the next generation. In The Dog's Notes, Poren Huang added the quality of loyalty and kindness to purify the human heart and create positive influence.Using the dog as a creative starting point, each piece of work is suggestive of the "human". About 10% to 90% of the works borrow from the dog to explore various human behaviors. Modern people generally feel kindly toward dogs because of their ability to soothe. Therefore, Poren Huang uses the dog as his creative theme to convey positive traits such as self-confidence, courage, loyalty or innocence, and to provoke in people deeper thoughts as they come in contact with his work. Many people are first attracted by the amusing forms; however, after a period of contact and interaction with the pieces, they seem to sense the deeper significance and remain inspired by positive ideas and thoughts. There are primarily two types of animals that appear in The Dog's Notes, the dog and the panda. They share a common characteristic of being humanized. These animals do not appear completely animal-like under Poren Huang's sculpting, but instead, they appear to have the scent of a human. That is why viewers tend to stand in front of the artwork and stare for quite a long time, unwittingly; perhaps it is because they did not get an affirmative answer as to whether the artwork is human or animal? When the dog and the panda enter the human's environment, they naturally learn to cohabitate with humans. They lose the wild nature of being wild animals, and become more humanized. People are the same way. Poren Huang wishes that humans can be more inspired by the dogs, and to learn the positive characters found in dogs, such as innocence, loyalty, kindness, bravery, and being passionate. Much like the Chinese proverb, "The son does not despise the mother for being ugly, and the dog does not blame the owner for being poor"; the dog will not despite the owner, and will not leave the owner, instead he will spend the rest of his life by his owner's side. Humans, on the other hand are different. They might look down on others or alienate others. They might even become disrespectful toward parents. The selfishness of humans causes wars and unrest in the world. Therefore, Poren Huang is not just creating artworks of animals, but instead, he is making his sculptures more humanized, so that the viewers can naturally reflect and be inspired. In addition, Poren Huang's humanized works of art also have a little bit of the "Oriental Literati" essence. Although these artworks will have various emotions, but they are never too intense, and are never over the top. Just like Ang Lee, Xi Jinping, Yo-Yo Ma, Jeremy Lin, as well as other generally well-known Chinese, whose personalities are perhaps the same way, which is gentle and refined, and with the modesty of a gentleman. Much like the Eastern literai who are well read of poetry and literature, their emotions are not easily shown; they are more restrained, and are full of character and depth.
en.wikipedia.org/wiki/Poren_Huang
Francois Gachon is an advertising agent of the By Chance agency and a watercolourist graduated from the school of applied arts, he painted this subtle body that I have inlaid in the photo. Poren Huang considered this collage to be very artistic.The wallpaper is a painting by Paul Gauguin named Delightful Land... Te nave nave nave nave fenua, 1892
While working for a while in another state, I drove through where Lillie was living at the time. We met up at a state park near her and shot a few family friendly shots around the park. Dozens of other people, mostly families with kids, were wandering around us… so it was a very tame shoot. But always fun to meet up with a friend.
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The Postcard
A postally unused Mirro-Krome postcard that was published by the H. S. Crocker Co. Inc. of Oklahoma City, Oklahoma on behalf of the Jefferson National Expansion Historical Association of St. Louis, Missouri.
Although the card was not posted, it bears recipients' names and an address:
To: Pete & Barbara,
(Prince Albert),
Newton Street,
Macclesfield,
Cheshire,
England.
Alas, the Prince Albert closed for good in January 2022. Plans are currently (2023) in place for the building to be converted into a 7-bedroomed house of multiple occupation.
The card also bore a message:
"Hello Pete & Barbara,
Weather is 80 degrees -
Phew!
Flight good. Been to top
of this arch - 630 feet -
lovely view.
Also been to Chicago -
smashing.
See you later,
BUGS!"
The St. Louis Gateway Arch
The Gateway Arch is a 630-foot (192 m) tall monument in St. Louis, Missouri. Clad in stainless steel and built in the form of a weighted catenary arch, it is the world's tallest arch, and Missouri's tallest accessible building.
Some sources consider it the tallest human-made monument in the Western Hemisphere. Built as a monument to the westward expansion of the United States and officially dedicated to "the American people", the Arch, commonly referred to as "The Gateway to the West", is a National Historic Landmark in Gateway Arch National Park.
It has become an internationally recognized symbol of St. Louis, as well as a popular tourist destination.
The Arch was designed by Finnish-American architect Eero Saarinen in 1947. Construction of the Arch began on the 12th. February 1963, and was completed on the 28th. October 1965, at an overall cost of $13 million (equivalent to $86.5 million in 2018).
The monument opened to the public on the 10th. June 1967. It is located at the 1764 site of the founding of St. Louis on the west bank of the Mississippi River.
Inception and Funding (1933–1935)
Around late 1933, civic leader Luther Ely Smith looked at the St. Louis riverfront area and envisioned that building a memorial there would revive the riverfront and stimulate the economy.
He suggested this to mayor Bernard Dickmann, who on the 15th. December 1933 raised it in a meeting with city leaders. They sanctioned the proposal, and the nonprofit Jefferson National Expansion Memorial Association (JNEMA -pronounced "Jenny May") was formed.
Smith was appointed chairman, and Dickmann vice chairman. The association's goal was to create:
'A suitable and permanent public memorial to the men who made possible the western territorial expansion of the United States, particularly President Jefferson, his aides Livingston and Monroe, the great explorers, Lewis and Clark, and the hardy hunters, trappers, frontiersmen and pioneers who contributed to the territorial expansion and development of these United States, and thereby to bring before the public of this and future generations the history of our development and induce familiarity with the patriotic accomplishments of these great builders of our country.'
Many locals however did not approve of depleting public funds for the cause. Smith's daughter SaLees related that:
"When people would tell him we needed
more practical things, he would respond
that 'spiritual things' were equally important."
The association expected that $30 million would be needed to undertake the construction of such a monument (about $508 million in 2021 dollars). It called upon the federal government to foot three-quarters of the bill ($22.5 million).
The suggestion to renew the riverfront was not original, as previous projects had been attempted, but lacked popularity. However the Jefferson memorial idea emerged amid the economic disarray of the Great Depression, and promised new jobs.
The project was expected to create 5,000 jobs for three to four years. Committee members began to raise public awareness by organizing fundraisers and writing pamphlets. They also engaged Congress by planning budgets and preparing bills, in addition to researching ownership of the land they had chosen:
"Approximately one-half mile in length
from Third Street east to the present
elevated railroad."
In January 1934, Senator Bennett Champ Clark and Representative John Cochran introduced to Congress an appropriation bill seeking $30 million for the memorial, but the bill failed to garner support due to the large amount of money solicited.
On the 15th. June 1934, President Franklin D. Roosevelt signed a bill into law, instituting the United States Territorial Expansion Memorial Commission. The commission comprised 15 members. It first convened on the 19th. December 1934 in St. Louis, where members examined the project and its planned location.
Meanwhile, in December 1934, the JNEMA discussed organizing an architectural competition to determine the design of the monument, and by January 1935, local architect Louis LeBeaume had drawn up competition guidelines.
On the 13th. April 1935, the commission certified JNEMA's project proposals, including memorial perimeters, the "historical significance" of the memorial, the competition, and the $30 million budget.
Dickmann and Smith applied for funding from two New Deal agencies—the Public Works Administration (headed by Harold Ickes) and the Works Progress Administration (headed by Harry Hopkins). On the 7th. August 1935, both Ickes and Hopkins promised $10 million, and said that the National Park Service (NPS) would manage the memorial.
A local bond issue election granting $7.5 million (about $127 million in 2021 dollars) for the memorial's development was held on the 10th. September 1935 and passed.
On the 21st. December 1935 President Roosevelt signed an Executive Order approving the memorial, designating the 82-acre area as the first National Historic Site. The order also appropriated $3.3 million through the WPA, and $3.45 million through the PWA.
However some taxpayers began to file suits to block the construction of the monument, which they called a "boondoggle".
Initial Planning (1936–1939)
The NPS acquired the historic buildings within the historic site—through condemnation rather than purchase—and demolished them. By September 1938, condemnation was complete.
The condemnation was subject to many legal disputes which culminated on the 27th. January 1939, when the United States Circuit Court of Appeals ruled that condemnation was valid. A total of $6.2 million was distributed to land owners on the 14th. June.
Demolition commenced on the 9th. October 1939, when Dickmann extracted three bricks from a vacant warehouse.
Led by Paul Peters, adversaries of the memorial delivered to Congress a leaflet titled:
"Public Necessity
or Just Plain Pork".
In March 1936, Representative John Cochran commented during a House meeting that:
"I would not vote for any measure
providing for building the memorial
or allotting funds to it".
Peters and other opponents asked Roosevelt to rescind his Executive Order, and to redirect the money to the American Red Cross. Smith stated that:
"They are opposed to anything that
is ever advanced in behalf of the city."
Because the Mississippi River played an essential role in establishing St. Louis's identity as the gateway to the west, it was felt that a memorial commemorating it should be near the river. Railroad tracks that had been constructed in the 1930's on the levee obstructed views of the riverfront from the memorial site.
When Ickes declared that the railway must be removed before he would allocate funds for the memorial, President of the St. Louis Board of Public Service Baxter Brown suggested that:
"A new tunnel would conceal the
tracks and re-grading of the site
would elevate it over the tunnel.
These modifications would open
up the views to the river."
Although rejected by NPS architect Charles Peterson, Brown's proposal formed the basis for the ultimate settlement.
By May 1942, demolition was complete. The Old Cathedral and the Old Rock House, because of their historical significance, were the only buildings retained within the historic site.
The Old Rock House was dismantled in 1959 with the intention of reassembling it at a new location, but pieces of the building went missing. Part of the house has been reconstructed in the basement of the Old Courthouse.
Design Competition (1945–1948)
In November 1944, Smith asserted that:
"The memorial should be transcending
in spiritual and aesthetic values, best
represented by one central feature: a
single shaft, a building, an arch, or
something else that would symbolize
American culture and civilization."
In January 1945, the JNEMA announced a two-stage design competition that would cost $225,000 to organize. Smith and the JNEMA struggled to raise the funds, garnering only a third of the required total by June 1945. The passage of a year brought little success, and Smith frantically underwrote the remaining $40,000 in May 1946. In February 1947, the fund stood at $231,199.
On the 30th. May 1947, the contest officially opened. It comprised two stages—the first to narrow down the designers to five, and the second to single out one architect and his design. The design was required to include:
-- An architectural memorial or memorials to Jefferson.
-- Preservation of the site of Old St. Louis—landscaping, provision of an open-air campfire theater, re-erection or reproduction of a few typical old buildings, and provision
of a Museum interpreting the Westward movement.
-- A living memorial to Jefferson's 'vision of greater opportunities for men of all races and creeds.'
-- Recreational facilities, both sides of the river.
-- Parking facilities, access, relocation of railroads,
and placement of an interstate highway.
On the 1st. September 1947, submissions for the first stage were received by the 7-member jury. The submissions were labeled by numbers only, and the names of the designers were kept anonymous.
Upon four days of deliberation, the jury narrowed down the 172 submissions to five finalists, and announced the corresponding numbers to the media on the 27th. September 1947.
Eero Saarinen's design (No. 144) was among the finalists, and comments written on it included:
"Relevant, beautiful, perhaps inspired
would be the right word." (Roland Wank) (....Yes, really.)
"An abstract form peculiarly happy
in its symbolism." (Charles Nagel).
Eero Saarinen's father Eliel Saarinen also submitted a design; however the secretary who sent out the telegrams informing finalists of their advancement mistakenly sent one to Eliel rather than Eero.
The family celebrated with champagne, and two hours later, a competition representative called to correct the mistake. Eliel broke out a second bottle of champagne to toast his son.
Saarinen changed the height of the Arch from 580 feet to 630 feet (190 m), and wrote that:
"The Arch symbolizes the gateway
to the West, the national expansion,
and whatnot."
He wanted the landscape surrounding the Arch:
"To be so densely covered with trees
that it will be a forest-like park, a green
retreat from the tension of the downtown
city."
The deadline for the second stage arrived on the 10th. February 1948, and on the 18th. February, the jury chose Saarinen's design unanimously, praising its "profoundly evocative and truly monumental expression."
The following day, during a formal dinner at Statler Hotel that the finalists and the media attended, Saarinen was pronounced the winner of the competition, and awarded the checks—$40,000 to his team, and $50,000 to Saarinen. The competition was the first major architectural design that Saarinen had developed unaided by his father.
The design drew varied responses. Representative H. R. Gross opposed the allocation of federal funds for the Arch's development. Some local residents likened it to:
"A stupendous hairpin and a
stainless steel hitching post."
The most aggressive criticism emerged from Gilmore D. Clarke, whose February 26th. 1948, letter compared Saarinen's Arch to an arch imagined by fascist Benito Mussolini, rendering the Arch a fascist symbol.
This allegation of plagiarism ignited fierce debates among architects about its validity. Douglas Haskell from New York wrote that:
"The use of a common form is not
plagiarism. This particular accusation
amounts to the filthiest smear that
has been attempted by a man highly
placed in the architectural profession
in our generation."
The jury refuted the charges, arguing that:
"The arch form is not inherently fascist,
but is indeed part of the entire history
of architecture."
Saarinen considered the opposition absurd, asserting:
"It's just preposterous to think that a
basic form, based on a completely
natural figure, should have any
ideological connection."
By January 1951, Saarinen had created 21 drawings, including profiles of the Arch, scale drawings of the museums and restaurants, various parking proposals, the effect of the levee-tunnel railroad plan on the Arch footings, the Arch foundations, the Third Street Expressway, and the internal and external structure of the Arch. Fred Severud made calculations for the Arch's structure.
Final Preparations (1959–1968)
Moving the railroad tracks was the first stage of the project. On the 6th. May 1959, the Public Service Commission called for ventilation to accompany the tunnel's construction, which entailed placing 3,000 feet of dual tracks into a tunnel 105 feet west of the elevated railroad, along with filling, grading, and trestle work.
In August 1959, demolition of the Old Rock House was complete, with workers beginning to excavate the tunnel. In November, they began shaping the tunnel's walls with concrete. On the 17th. November 1959, trains began to use the new tracks.
Construction of the Arch
The MacDonald Construction Co. of St. Louis was awarded the contract for the construction of the Arch and the visitor center. The Pittsburgh-Des Moines Steel Company served as the subcontractor for the shell of the Arch.
In 1959 ground was broken, and in 1961, the foundation of the structure was laid. Construction of the Arch itself began on the 12th. February 1963, as the first steel triangle on the south leg was eased into place.
These steel triangles, which narrowed as they spiraled to the top, were raised into place by a group of cranes and derricks. The Arch was assembled with 142 twelve foot-long (3.7 m) prefabricated stainless steel sections. Once in place, each section had its double-walled skin filled with concrete, prestressed with 252 tension bars.
In order to keep the partially completed legs steady, a scissors truss was placed between them at 530 feet (160 m), later removed as the derricks were taken down. The whole endeavor was expected to be completed by fall of 1964, in observance of the St. Louis bicentennial.
Contractor MacDonald Construction Co. arranged a 30-foot (9.1 m) tower for spectators, and provided recorded accounts of the undertaking. In 1963, a million people went to observe the progress, and by 1964, local radio stations began to broadcast when large slabs of steel were about to be raised into place.
St. Louis Post-Dispatch photographer Art Witman documented the construction for the newspaper's Sunday supplement Pictures, his longest and most noted assignment. He visited the construction site frequently from 1963 to 1967, recording of every stage of progress.
With assistant Renyold Ferguson, he crawled along the catwalks with the construction workers up to 190m above the ground. He was the only news photographer on permanent assignment at the construction, with complete access. He primarily worked with slide film, but also used the only Panox camera in St. Louis to create panoramic photographs covering 140 degrees. Witman's pictures of the construction are now housed in the State Historical Society of Missouri.
The project manager of MacDonald Construction Co., Stan Wolf, said that a 62-story building was easier to build than the Arch:
"In a building, everything is straight up,
one thing on top of another. In this Arch,
everything is curved."
Delays and Lawsuits
Although an actuarial firm predicted that thirteen workers would die while building the Arch, no workers were killed during the monument's construction. However, construction of the Arch was nevertheless often delayed by safety checks, funding uncertainties, and legal disputes.
Civil rights activists regarded the construction of the Arch as a token of racial discrimination. On the 14th. July 1964, during the workers' lunchtime, civil rights protesters Percy Green and Richard Daly, both members of Congress of Racial Equality, climbed 125 feet (38 m) up the north leg of the Arch:
"To expose the fact that federal funds
are being used to build a national
monument that was racially
discriminating against black contractors
and skilled black workers."
As the pair disregarded demands to come down, protesters on the ground demanded that at least 10% of the skilled jobs should be given to African Americans. Four hours later, Green and Daly dismounted from the Arch to charges of trespassing, peace disturbance, and resisting arrest.
In 1965, NPS requested that the Pittsburgh-Des Moines Steel remove the prominent letters "P-D-M" (its initials) from a creeper derrick used for construction, contending that it was promotional, and violated federal law with regards to advertising on national monuments.
Although Pittsburgh-Des Moines Steel initially refused to pursue what it considered a precarious venture, the company relented after discovering that leaving the initials in place would cost $225,000 and after that, $42,000 per month.
On the 26th. October 1965, the International Association of Ironworkers delayed work to ascertain that the Arch was safe. After NPS director Kenneth Chapman gave his word that conditions were "perfectly safe," construction resumed on the 27th. October.
Topping out and Dedication
President Lyndon B. Johnson and Mayor Alfonso J. Cervantes decided on a date for the topping-out ceremony, but the Arch had not been completed by then. The ceremony date was reset to the 17th. October 1965; workers strained to meet the deadline, taking double shifts, but by the 17th. October, the Arch was still not complete.
The chairman of the ceremony then anticipated the ceremony to be held on the 30th. October 1965, a Saturday, to allow 1,500 schoolchildren, whose signatures were to be placed along with others in a time capsule, to attend. Ultimately, PDM set the ceremony date to the 28th. October.
The time capsule, containing the signatures of 762,000 students and others, was welded into the keystone before the final piece was set in place. On the 28th. October 1965, the Arch was topped out as Vice President Hubert Humphrey observed from a helicopter.
A Catholic priest and a rabbi prayed over the keystone, a 10-ton, eight-foot-long (2.4 m) triangular section. It was slated to be inserted at 10:00 a.m. local time, but was in fact done 30 minutes early, because thermal expansion had constricted the 8.5-foot (2.6 m) gap at the top by 5 inches (13 cm). To mitigate this, workers used fire hoses to spray water on the surface of the south leg to cool it down and make it contract.
The keystone was inserted in 13 minutes with only 6 inches (15 cm) remaining. For the next section, a hydraulic jack had to pry apart the legs six feet (1.8 m). By noon, the keystone was secured. Some filmmakers, in hope that the two legs would not meet, had chronicled every phase of construction.
The Gateway Arch was expected to open to the public by 1964, but by 1967 the public relations agency had stopped forecasting the opening date. The Arch's visitor center opened on the 10th. June 1967, and the tram began operating on the 24th. July.
The Arch was dedicated by Hubert Humphrey on the 25th. May 1968.He declared that the Arch was:
"A soaring curve in the sky that links
the rich heritage of yesterday with
the richer future of tomorrow. It brings
a new purpose and a new sense of
urgency to wipe out every slum.
Whatever is shoddy, whatever is ugly,
whatever is waste, whatever is false,
will be measured and condemned in
comparison to the Gateway Arch."
About 250,000 people were expected to attend the dedication, but rain canceled the outdoor activities, with the ceremony being transferred to the visitor center. After the dedication, Humphrey crouched beneath an exit as he waited for the rain to subside so that he could walk to his vehicle.
After Completion
The project did not provide 5,000 jobs as expected - as of June 1964, workers numbered fewer than 100. The project did, however, incite other riverfront restoration efforts, totaling $150 million. Building projects included a 50,000-seat sports stadium, a 30-story hotel, several office towers, four parking garages, and an apartment complex.
The idea of a Disneyland amusement park that included "synthetic riverboat attractions" was considered, but later abandoned. The developers hoped to use the Arch as a commercial catalyst, attracting visitors who would use their services. One estimate found that since the 1960's, the Arch has incited almost $503 million worth of construction.
Characteristics of the Arch
Both the width and height of the Arch are 630 feet (192 m). The Arch is the tallest memorial in the United States, and the tallest stainless steel monument in the world.
The cross-sections of the Arch's legs are equilateral triangles, narrowing from 54 feet (16 m) per side at the bases to 17 feet (5.2 m) per side at the top. Each wall consists of a stainless steel skin covering a sandwich of two carbon-steel walls with reinforced concrete in the middle from ground level to 300 feet (91 m), with carbon steel to the peak.
The Arch is hollow to accommodate a unique tram system that takes visitors to an observation deck at the top.
The structural load is supported by a stressed-skin design. Each leg is embedded in 25,980 tons of concrete 44 feet (13 m) thick and 60 feet (18 m) deep.
Twenty feet (6.1 m) of the foundation is in bedrock. The Arch is resistant to earthquakes, and is designed to sway up to 18 inches (46 cm) in either direction, while withstanding winds of up to 150 miles per hour (240 km/h).
The structure weighs 42,878 tons, of which concrete composes 25,980 tons; structural steel interior, 2,157 tons; and the 6.3mm thick grade 304 stainless steel panels that cover the exterior of the Arch, 886 tons.
This amount of stainless steel is the most used in any one project in history. The base of each leg at ground level had to have an engineering tolerance of 1⁄64 inch (0.40 mm), or the two legs would not meet at the top.
Mathematics of the Arch
The Arch is a weighted catenary - its legs are wider than its upper section. A hyperbolic cosine function describes the shape of a catenary. The catenary arch is the stablest of all arches, since the thrust passes through the legs and is absorbed in the foundations, instead of forcing the legs apart.
The Gateway Arch however is not a common catenary, but an inverted weighted catenary. Saarinen chose a weighted catenary over a normal catenary curve because it looked less pointed and less steep. In 1959, he caused some confusion about the actual shape of the Arch when he wrote:
"This Arch is not a true parabola, as is often
stated. Instead it is a catenary curve—the
curve of a hanging chain—a curve in which
the forces of thrust are continuously kept
within the center of the legs of the Arch."
Lighting the Arch
The first proposal to illuminate the Arch at night was announced on the 18th. May 1966, but the plan never came to fruition. However in July 1998, funding for an Arch lighting system was approved by St. Louis's Gateway Foundation, which agreed to take responsibility for the cost of the equipment, its installation, and its upkeep.
In January 1999, MSNBC arranged a temporary lighting system for the Arch so the monument could be used as the background for a visit by Pope John Paul II.
Since November 2001, the Arch has been bathed in white light between 10 p.m. and 1 a.m. via a system of floodlights. Designed by Randy Burkett, it comprises 44 lighting fixtures situated in four pits just below ground level.
On the 5th. October 2004, the U.S. Senate approved a bill permitting the illumination in pink of the Arch in honor of breast cancer awareness month. Both Estée Lauder and May Department Store Co. had championed the cause.
One employee said that the Arch would be:
"A beacon for the importance of
prevention and finding a cure."
While the National Park Service took issue with the plan due to the precedent it would set for prospective uses of the Arch, it yielded due to a realization that it and Congress were "on the same team," and because the illumination was legally obligatory; on the 25th. October 2004, the plan was carried out.
The previous time the Arch was illuminated for promotional purposes was on the 12th. September 1995, under the management of local companies Fleishman-Hillard and Technical Productions, when a rainbow spectrum was shone on the Arch to publicize the debut of Ringling Bros. and Barnum & Bailey Circus' Wizard of Oz on Ice at the Kiel Center.
Public Access to the Arch
In April 1965, three million tourists were expected to visit the Arch annually after completion; 619,763 tourists visited the top of the Arch in its first year open. On the 15th. January 1969, a visitor from Nashville, Tennessee, became the one-millionth person to reach the observation area; the ten-millionth person ascended to the top on the 24th. August 1979.
In 1974, the Arch was ranked fourth on a list of "most-visited man-made attractions." The Gateway Arch is one of the most visited tourist attractions in the world, with over four million visitors annually, of which around one million travel to the top.
The Arch was listed as a National Historic Landmark on the 2nd. June 1987, and is also listed on the National Register of Historic Places.
The Visitor Center
The underground visitor center for the Arch was designed as part of the National Park Service's Mission 66 program. The 70,000-square-foot (6,500 m2) center is located directly below the Arch, between its legs.
Although construction of the visitor center began at the same time as construction of the Arch itself, it did not conclude until 1976 because of insufficient funding; however, the center opened with several exhibits on the 10th. June 1967. Access to the visitor center is provided through ramps adjacent to each leg of the Arch.
The center houses offices, mechanical rooms, and waiting areas for the Arch trams, as well as its main attractions: the Museum of Westward Expansion and two theaters displaying films about the Arch.
The older theater opened in May 1972; the newer theater, called the Odyssey Theatre, was constructed in the 1990's and features a four-story-tall screen. Its construction required the expansion of the underground complex, and workers had to excavate solid rock while keeping the disruption to a minimum so that the museum could remain open.
The museum houses several hundred exhibits relating to the United States' westward expansion in the 19th. century, and opened on the 10th. August 1977.
The visitor center and museum underwent a $176 million expansion and renovation that was completed in July 2018. The renovation included a 46,000-square-foot underground addition featuring interactive story galleries, video walls, a fountain and a café.
The Observation Area
Near the top of the Arch, passengers exit the tram compartment and climb a slight gradient to enter the observation area. This arched deck, which is over 65 feet (20 m) long and 7 feet (2.1 m) wide, can hold up to about 160 people, equivalent to the number of people from four trams.
Sixteen windows per side, each measuring 7 by 27 inches (180 mm × 690 mm), offer views up to 30 miles (48 km) to the east across the Mississippi River and southern Illinois with its prominent Mississippian culture mounds at Cahokia Mounds, and to the west over the city of St. Louis and St. Louis County beyond.
Modes of Ascent
There are three modes of transportation up the Arch: two sets of 1,076-step emergency stairs (one per leg), a 12-passenger elevator to the 372-foot (113 m) height, and a tram in each leg.
Each tram is a chain of eight cylindrical, five-seat compartments with a small window on the doors. As each tram has a capacity of 40 passengers and there are two trams, 80 passengers can be transported at one time, with trams departing from the ground every 10 minutes.
The cars swing like Ferris-wheel cars as they ascend and descend the Arch. This movement gave rise to the idea of the tram as "half-Ferris wheel and half-elevator."
The trip to the top takes four minutes, and the trip down takes three minutes.
The tram in the north leg entered operation in June 1967, but visitors were forced to endure three-hour-long waits until the 21st. April 1976, when a reservation system was put in place.
The south tram was completed in March 1968. Commemorative pins were awarded to the first 100,000 passengers.
As of 2007, the trams have traveled 250,000 miles (400,000 km), conveying more than 25 million passengers.
Incidents Associated With the Arch
-- July 1970
On the 8th. July 1970, a six-year-old boy, his mother, and two of her friends were trapped in a tram in the Arch's south leg after the monument closed. According to the boy's mother, the group went up the Arch around 9:30 p.m. CDT, but when the tram reached the de-boarding area, its doors did not open.
The tram then traveled up to a storage area 50 feet (15 m) above the ground, and the power was switched off. One person was able to pry open the tram door, and the four managed to reach a security guard for help after being trapped for about 45 minutes.
-- July 2007
On the 21st. July 2007, a broken cable forced the south tram to be shut down, leaving only the north tram in service until repairs were completed in March 2008. Around 200 tourists were stuck inside the Arch for about three hours because the severed cable contacted a high-voltage rail, causing a fuse to blow.
The north tram was temporarily affected by the power outage as well, but some passengers were able to exit the Arch through the emergency stairs and elevator. It was about two hours until all the tram riders safely descended, while those in the observation area at the time of the outage had to wait an additional hour before being able to travel back down.
An Arch official said the visitors, most of whom stayed calm during the ordeal, were not in any danger, and were later given refunds. The incident occurred while visitors in the Arch were watching a fireworks display, and no one was seriously injured in the event. However, two people received medical treatment: one person needed oxygen, and the other was diabetic.
-- March 2008
Almost immediately after the tram returned to service in 2008, however, it was closed again for new repairs after an electrical switch broke. The incident, which occurred on the 14th. March, was billed as a "bad coincidence."
-- February 2011
On the morning of the 9th. February 2011, a National Park Service worker was injured while performing repairs to the south tram. The 55-year-old was working on the tram's electrical system when he was trapped between it and the Arch wall for around 30 seconds, until being saved by other workers.
Emergency officials treated the injured NPS employee at the Arch's top before taking him to Saint Louis University Hospital in a serious condition.
-- March 2011
On the 24th. March 2011, around one hundred visitors were stranded in the observation area for 45 minutes after the doors of the south tram refused to close. The tourists were safely brought down the Arch in the north tram, which had been closed that week so officials could upgrade it with a new computer system.
The National Park Service later attributed the malfunction to a computer glitch associated with the new system, which had already been implemented with the south tram. No one was hurt in the occurrence.
-- June 2011
Around 2:15 p.m. local time on the 16th. June 2011, the Arch's north tram stalled due to a power outage. The tram became stuck about 200 feet (61 m) from the observation deck, and passengers eventually were told to climb the stairs to the observation area.
It took National Park Service workers about one hour to manually pull the tram to the top, and the 40 trapped passengers were able to return down on the south tram, which had previously not been operating that day because there was not an abundance of visitors.
An additional 120 people were at the observation deck at the time of the outage, and they also exited via the south tram. During the outage, visitors were stuck in the tram with neither lighting nor air conditioning. No one was seriously injured in the incident, but one visitor lost consciousness after suffering a panic attack, and a park ranger was taken away with minor injuries. The cause of the outage was not immediately known.
Stunts and Accidents Associated With the Arch
-- June 1966
On the 16th. June 1965, the Federal Aviation Administration cautioned that aviators who flew through the Arch would be fined, and their licenses revoked. At least ten pilots have disobeyed this order, beginning on the 22nd. June 1966.
-- December 1973
In 1973, Nikki Caplan was granted an FAA exception to fly a hot air balloon between the Arch's legs as part of the Great Forest Park Balloon Race. During the flight, on which the St. Louis park director was a passenger, the balloon hit the Arch and plummeted 70 feet before recovering.
-- July 1976
In 1976, a U.S. Army exhibition skydiving team was permitted to fly through the Arch as part of Fourth of July festivities, and since then, numerous skydiving exhibition teams have legally jumped onto the Arch grounds, after having flown their parachutes through the legs of the Arch.
-- June 1980
The Arch has been a target of various stunt performers, and while such feats are generally forbidden, several people have parachuted to or from the Arch regardless. In June 1980, the National Park Service declined a request by television producers to have a performer jump from the Arch.
-- November 1980
On the 22nd. November 1980, at about 8:45 a.m. CST, 33-year-old Kenneth Swyers of Overland, Missouri, parachuted onto the top of the Arch. His plan was to release his main parachute and then jump off the Arch using his reserve parachute to perform a base jump.
Unfortunately, after landing the wind blew him to the side, and he slid down the north leg to his death. The accident was witnessed by several people, including Swyers' wife, also a parachutist. She said that:
"My husband was not a hot
dog, daredevil skydiver. He
had prepared for the jump
two weeks in advance."
Swyers, who had made over 1,600 jumps before the incident, was reported by one witness as follows:
"He landed very well on the
top of the Arch, but had no
footing."
Swyers was reportedly blown to the top of the Arch by the wind and was unable to save himself when his reserve parachute failed to deploy. The Federal Aviation Administration said the jump was unauthorized, and investigated the pilot involved in the incident.
-- December 1980
On the 27th. December 1980, St. Louis television station KTVI reported receiving calls from supposed witnesses of another stunt landing. The alleged parachutist, who claimed to be a retired professional stuntman, was said to be wearing a Santa Claus costume when he jumped off an airplane around 8:00 a.m. CST.
He parachuted onto the Arch, grasped the monument's beacon, and used the same parachute to glide down unharmed. KTVI said it was told:
"The feat was done as an act of
homage to Swyers, and was a
combination of a dare, a drunk,
and a tribute."
However on the day after the alleged incident, authorities declared the jump a hoax. A spokesperson for the St. Louis Metropolitan Police Department said no calls were received about the jump until after it was broadcast on the news, and the Federal Aviation Administration said the two calls it had received were very similar.
One caller also left an out-of-service phone number, while the other never followed up with investigators. Arch officials said they did not witness any such jump, and photos provided by the alleged parachutist were unclear.
-- February 1986
An appeal by stuntman Dan Koko to be allowed to jump from the Arch was turned away in February 1986. Koko, who was a stunt double for Superman, wanted to perform the leap during Fourth of July celebrations.
-- September 1992
On the 14th. September 1992, 25-year-old John C. Vincent climbed to the top of the Gateway Arch using suction cups, and proceeded to parachute back to the ground. He was later charged with two misdemeanors: climbing a national monument, and parachuting in a national park.
Federal prosecutor Stephen Higgins called the act a "great stunt" but said that:
"It is something the Park
Service doesn't take lightly."
Vincent, a construction worker and diver from Harvey, Louisiana, said:
"I did it just for the excitement,
just for the thrill."
He had previously parachuted off the World Trade Center in May 1991. He said that scaling the Arch "wasn't that hard," and that he had considered a jump off the monument for a few months.
In an interview, Vincent said he visited the Arch's observation area a month before the stunt, to see if he could use a maintenance hatch for accessing the monument's peak. Due to the heavy security, he instead decided to climb up the Arch's exterior using suction cups, which he had used before to scale shorter buildings.
Dressed in black, Vincent began crawling up the Arch around 3:30 a.m. CST on the 14th. September 1992, and arrived undetected at the top around 5:45 a.m., taking an additional 75 minutes to rest and take photos before finally jumping.
During this time, he was seen by two traffic reporters inside the One Metropolitan Square skyscraper.
Vincent was also spotted mid-air by Deryl Stone, a Chief Ranger for the National Park Service. Stone reported seeing Vincent grab his parachute after landing and run to a nearby car, which quickly drove away.
However, authorities were able to detain two men on the ground who had been videotaping the jump. Stone said 37-year-old Ronald Carroll and 27-year-old Robert Weinzetl, both St. Louis residents, were found with a wireless communication headset and a video camera, as well as a still camera with a telephoto lens.
The two were also charged with two misdemeanors: disorderly conduct, and commercial photography in a national park.
Vincent later turned himself in, and initially pleaded not guilty to the charges against him. However, he eventually accepted a guilty plea deal in which he testified against Carroll and Weinzetl, revealing that the two consented to record the jump during a meeting of all three on the day before his stunt occurred.
Federal magistrate judge David D. Noce ruled on the 28th. January 1993 that Carroll had been involved in a conspiracy, and was guilty of both misdemeanor charges; the charges against Weinzetl were dropped by federal prosecutors. In his decision, Noce stated:
"There are places in our country where the
sufficiently skilled can savor the exhilaration
and personal satisfaction of accomplishing
courageous and intrepid acts, of reaching
dreamed-of heights and for coursing
dangerous adventures.
However other places are designed for the
exhilaration of mere observation, and for the
appreciation of the imaginings and the works
of others. The St. Louis Arch and the grounds
of the Jefferson National Expansion Memorial
are in the latter category."
After his guilty plea, Vincent was sentenced to a $1,000 fine, 25 hours of community service, and a year's probation. In December 1992, Vincent was sentenced to ninety days in jail for violating his probation.
-- 2013
In 2013, Alexander Polli, a European BASE jumper, planned to fly a wingsuit under the Arch, but had his demo postponed by the FAA.
Security
Two years after the 1995 Oklahoma City bombing, $1 million was granted to institute a counter-terrorism program for the Arch. Park officials were trained to note the activity of tourists, and inconspicuous electronic detection devices were installed.
After the September 11 attacks on the WTC in 2001, security efforts became more prominent, and security checkpoints moved to the entrance of the Arch's visitor center. At the checkpoints, visitors are screened by magnetometers and x-ray equipment, devices which have been in place since 1997.
The Arch also became one of several U.S. monuments placed under restricted airspace during 2002 Fourth of July celebrations.
In 2003, 10-foot-long (3.0 m), 32-inch-high (81 cm), 4,100-pound (1,900 kg) movable Jersey barriers were installed to impede terrorist attacks on the Arch.
Later that year, it was announced that these walls were to be replaced by concrete posts encased in metal to be more harmonious with the steel color of the Arch. The movable bollards can be manipulated from the park's dispatch center, which has also been upgraded.
In 2006, Arch officials hired a "physical security specialist," replacing a law enforcement officer. The responsibilities of the specialist include risk assessment, testing the park's security system, increasing security awareness of other employees, and working with other government agencies to improve the Arch's security procedures.
Symbolism and Culture
Built as a monument to the westward expansion of the United States, the Arch is said to typify:
"The pioneer spirit of the men and women
who won the West, and those of a latter
day to strive on other frontiers."
On the 14th. December 2003, Robert W. Duffy wrote in the St. Louis Post-Dispatch:
"The Gateway Arch packs a significant symbolic
wallop just by standing there. But the Arch has a
mission greater than being visually affecting.
Its shape and monumental size suggest movement
through time and space, and invite inquiry into the
complex, fascinating story of America's national
expansion."
The Arch has become the iconic image of St. Louis, appearing in many parts of city culture. In 1968, three years after the monument's opening, the St. Louis phone directory contained 65 corporations with "Gateway" in their title and 17 with "Arch".
Arches also appeared over gas stations and drive-in restaurants. In the 1970's, a local sports team adopted the name "Fighting Arches"; St. Louis Community College later (when consolidating all athletic programs under a single banner) named its sports teams "Archers".
Robert S. Chandler, an NPS superintendent, said:
"Most visitors are awed by the size
and scale of the Arch, but they don't
understand what it's all about ... Too
many people see it as just a symbol
of the city of St. Louis."
The Arch has also appeared as a symbol of the State of Missouri. On the 22nd. November 2002, at the Missouri State Capitol, Lori Hauser Holden, wife of then-Governor Bob Holden, uncovered the winning design for a Missouri coin design competition as part of the Fifty States Commemorative Coin Program.
Designed by water colorist Paul Jackson, the coin portrays three members of the Lewis and Clark expedition paddling a boat on the Missouri River upon returning to St. Louis with the Arch as the backdrop.
Holden said that:
"The Arch is a symbol for the entire
state ... Four million visitors each year
see the Arch. The coin will help make
it even more loved worldwide."
A special license plate designed by Arnold Worldwide featured the Arch, labeled with "Gateway to the West." Profits earned from selling the plates funded the museum and other educational components of the Arch.
Louchheim wrote that although the Arch has a simplicity which should guarantee timeliness, it is entirely modern as well, because of the innovative design and its scientific considerations.
In The Dallas Morning News, architectural critic David Dillon opined that:
"The Arch exists not as a functional edifice,
but as a symbol of boundless American
optimism". The Arch has multiple "moods" -
reflective in sunlight, soft and pewterish in
mist; crisp as a line drawing one moment,
chimerical the next.
The Arch has paid for itself many times
over in wonder".
Some have questioned whether St. Louis really was - as Saarinen said - the "Gateway to the West". Kansas City-born "deadline poet" Calvin Trillin wrote:
"I know you're thinking that there are considerable
differences between T.S. Eliot and me. Yes, it is true
that he was from St. Louis, which started calling itself
the Gateway to the West after Eero Saarinen's
Gateway Arch was erected, and I'm from Kansas City,
where people think of St. Louis not as the Gateway to
the West but as the Exit from the East."
With renovations in the 2010's of the visitor center, the message of the Arch has been more inclusive in its historic perspective, highlighting the impact of colonialism, and particularly the effect of American frontierism on the environment, land and people of the First Americans, as well as Native Mexicans.
It furthermore exhibits the urban history of the site and the struggle of its people, as well as of its construction workers for more rights, during the civil rights movement era.
The Arch's futuristic style has been seen as a symbol for the automobile age and the surrounding automobile-centric urban and interstate infrastructure, promising a technological future of a new accessible frontier.
This outlook has seen continuation, lending the Gateway Arch's iconic shape and meaning to the name and logo of the future Lunar Gateway, with its purpose as a gateway to the Moon and Mars.
On the 29th. February 1969, in an article in The New York Times, Louchheim praised the Arch's design as:
"A modern monument, fitting,
beautiful and impressive."
Cultural References to the Arch
-- Dutch composer Peter Schat wrote a 1997 work, Arch Music for St. Louis, Op. 44. for the St. Louis Symphony Orchestra. It premiered on the 8th. January 1999 at the Powell Symphony Hall.
Since Schat did not ascend the Arch due to his fear of heights, he used his creativity to depict in music someone riding a tram to the top of the Arch.
-- Paul Muldoon's poem, "The Stoic", is set under the Gateway Arch. The work, "An Elegy for a Miscarried Foetus", describes Muldoon's ordeal standing under the Gateway Arch after his wife telephoned and informed him that the baby they were expecting had been miscarried.
-- Percy Jackson encounters Echidna and the Chimera in the Gateway Arch in The Lightning Thief, after he, Grover Underwood, and Annabeth Chase visit the Arch during their trip to California to recover the Master Bolt. Percy faces the Chimera, jumps out of the Arch, and falls into the Mississippi River.
-- A damaged Gateway Arch is prominently featured in Defiance, a science fiction television series. The apex is used as a radio station studio, with the arch itself acting as the station's antenna.
Vandalism and Maintenance of the Arch
The first act of vandalism against the Arch was committed in June 1968: the vandals scratched their names on various parts of the Arch. In all, $10,000 was spent that year in order to repair damage from vandalism. The Arch was first targeted by graffiti artists on the 5th. March 1969.
In 2010, signs of corrosion were reported at the upper regions of the stainless steel surface. Carbon steel in the north leg has been rusting, possibly a result of water accumulation, a side effect of leaky welds in an environment that often causes rain to enter the skin of the structure.
Maintenance workers use mops and a temporary setup of water containers to ease the problem. According to NPS documents, the corrosion and rust pose no safety concerns.
A more comprehensive study of the corrosion had been suggested as early as 2006 by architectural specialists studying the Arch, and reiterated in a 2010 Historic Structure Report.
In September 2010, the NPS granted Wiss, Janney, Elstner Associates, Inc. a contract for a structural study that would:
"Gather data about the condition of the
Arch to enable experts to develop and
implement the right long-term solutions."
Stain samples were taken from the west face of the Arch on the 21st. October 2014 to determine the best way to clean it. The cleaning was estimated to cost about $340,000.
In 1984, structural engineer Tibor Szegezdy told the Smithsonian Magazine that:
"The Arch will stand for considerably
less than a thousand years before
collapsing in a wind storm."
© Jeff R. Clow
To stimulate the creative side of my brain, I sometimes rework some of my recent photos with different filters and post processing techniques.
Here I was attempting to craft the "look" of vintage film images from the 50's and 60's.....even though the photo itself was taken earlier this year.
If you have a moment, press "L" to view this at the larger size. I think it is much better when viewed larger.
“To stimulate creativity one must develop childlike inclination for play and the childlike desire for recognition.” – Albert Einstein
I spend quite a bit of time doing just that. Sure there are a few necessary items on the “to do” list for tomorrow…..not all of which I might choose to do if given absolute freedom of choice, but for the most part , I try to stay focussed on the importance of fueling my creative soul. One of those ways is to carve out a little time every evening that I can to “play” in the digital darkroom.
I love the texture of these crooked branches on the these trees that are part of the scene throughout a lot of Southern Utah. They seem so fragile and thirsty. Almost ready to completely crack apart.
I had a few images in my minds eye that I could have created with these unique caracters that seemed to perform on these open landscaped stages, and this is not one of theme. Funny how you can look at a shot while processing it and say to yourself “Why didn’t I compose this with a little more depth and awareness to levels of detail. Maybe a little more foreground? Perhaps I should have given a little more space for the old tree to act out in the space. Next time I guess :)
For more from MDSimages, please check out the links below....and thanks for stopping by!
The Windsor Bowling Club has played a significant role in the social and recreational life of the several generations of Windsor residents devoted to the sport since the club was formed in early 1921.
Situated on land first set aside for "recreation, sport and garden purposes" in 1899, the club opened towards the end of a period of rapid growth in the population of the Town of Windsor, a growth stimulated by the extension of the tram to the Kedron Bridge in 1914. The decision to form a club was taken at a public meeting at the Windsor Council Chambers called on the 22nd of April 1921, with a number of civic dignitaries present. The meeting was instigated by two Windsor residents, Mr Alex Inglis and Mr Hugh Lavery.
On the 6th of May 1921 the present site in Windsor Park was chosen and a satisfactory lease of a portion of the park was arranged with the Windsor Town Council. The peppercorn rent of £2 per annum for 21 years and an extra year for every £50 spent on improvements was agreed. On the 19th of May ‘the Windsor Bowling Club’ was officially constituted. Prominent among the foundation officers and members of the club council were R.B. Lane, Mayor of Windsor and several of the local Aldermen, including William A. Jolly who would become the first Mayor of the Greater Brisbane Council in 1925.
On the 11th of October 1921, tenders were called for the construction of what is now known as the "Bob Lane" green. Messrs. Gibson & Southerden were awarded the contract and A.E. Harding Frew, who subsequently designed the William Jolly Bridge, was the honorary supervising engineer. Harry Moore, the State Singles champion at the time and later the Parks Superintendent for the Brisbane City Council provided assistance and advice.
The original Club Pavilion was erected by George Bott, under the supervision of Windsor Council Alderman J. McDonald who was also responsible for drawing up the plans and specifications. A total of £2,632 was spent on green construction, the erection of the pavilion and furniture and plant. The green was opened for play on the 27th of May 1922 with a foundation membership of 77. Like the Auchenflower Bowling Club which was opened in October of the previous year, the club membership was a virtual "who’s who" of local personalities and civic identities in the inter-war period. Local residents involved with the foundation of the clubhouse and the early years included: Chas Taylor, MLA; Alderman James McDonald, and Town Council Engineer, Bill Huxham.
Over the years, as the local population increased and club membership grew, a number of significant alterations were made. In 1927, gabled extensions were added to the clubhouse and open verandahs extended for the full width. These extensions were enclosed in 1934 and over time other improvements carried out. In 1954 the building was raised and somewhat redesigned to permit the construction of a new bar, a ladies room, and several offices underneath the existing structure. All this at a time when the Windsor Club was experiencing unprecedented prosperity, success in State and inter-state Championships, as well as taking the initial steps towards the formation of the Ladies Club which occurred in 1955. In 1969 further re-modelling was undertaken.
Changes that reflected those occurring in the wider community not only affected the Club House. The original green served the needs of the club’s ever increasing membership until 1939 when a second green was laid down and opened on the 9th of December 1939. Around this time, Memorial Gates to the club were erected to honour the memory of Fred Pumfrey, Club Secretary and then President in the late 1920s. On the 25th of June 1955, the two greens were named the Bob Lane and Paul Maggs Greens respectively in recognition of the contribution to the game of the Club’s two life members. These original greens were replaced with tift dwarf greens in 1980.
While the second half of the twentieth century brought with it many changes, a most significant factor in the life of the club was the declining membership which accompanied changes in the lifestyle of the surrounding community. In 1965, the Metropolitan singles final played at Windsor was directly televised, a first for Queensland. Flood damage, which also had an impact on the wider community, wrought havoc on the greens and the furniture and fittings repeatedly between 1967 and 1974. Despite the decline in membership, the club continued to upgrade facilities in accordance with the changing needs of those it served. It undertook extensive renovations in the late 1970s in order to comply with the requirements of both the Licensing commission and the Fire Brigade and again in the early 1980s, for example making provisions for car parks. In the 1990s, the club has reaped the reward of long years of industrious and careful financial planning, it is debt free. With the gentrification which is occurring, it is once again undergoing change to serve the needs of the younger members who are now joining such clubs. The installation of poker machines being one of the many adaptations to the demands of the 1990s.
The history of the club and its members and its many adaptations over time reflect the changes which have occurred in the area in which it is located and that in the community which it has served since the inaugural meeting in 1921.
Source: Brisbane City Council Heritage Register.
This picture was taken thanks to my mother, who attracted her attention and stimulated a lot of interesting expressions :)
Model:
Apparel:
Canon EOS 5D MK III
Sigma 35mm f/1.4
TV 1/2000
AV 1.4
ISO 100
Post - Production with Photoshop
I've been doing primarily Art photography as of late. Conceptual stuff that really speaks to me, and hopefully you, but the other day I went on a shoot with Laura and I couldn't resist posting this photo. It's rare, to be honest, that I find a "portrait session" stimulating.. but when I came across this capture something in me stirred. I Love that you can see who she is in this photo - even without looking at the camera.
13600+ views? WHAT?! hahaa.. wow.
Shinjuku, Tokyo, is a dynamic district that perfectly encapsulates the essence of modern Japan. This image showcases the vibrant energy of Shinjuku, a place where tradition meets innovation. The towering buildings, adorned with a plethora of colorful advertisements and neon lights, create a visually stimulating environment that is both captivating and overwhelming. The architecture in Shinjuku is a testament to Japan's rapid modernization, with sleek skyscrapers standing alongside older, more traditional structures. This juxtaposition highlights the district's historical significance and its role as a hub of contemporary culture.
Shinjuku is not just a commercial center; it is also steeped in history. The area has been a significant part of Tokyo since the Edo period, serving as a post town on the Koshu Kaido, one of the five routes of the Edo period. Today, Shinjuku Station is one of the busiest railway stations in the world, a testament to the district's enduring importance. The streets are lined with a variety of shops, restaurants, and entertainment venues, offering something for everyone. From high-end department stores to quirky boutiques, Shinjuku is a shopper's paradise. Food enthusiasts can indulge in a wide range of culinary delights, from traditional Japanese cuisine to international fare. The district is also home to numerous entertainment options, including theaters, karaoke bars, and nightclubs.
Shinjuku's unique blend of history, culture, and modernity makes it a must-visit destination for anyone exploring Tokyo. Whether you're interested in shopping, dining, or simply soaking in the urban atmosphere, Shinjuku offers an unparalleled experience that captures the essence of modern Japan.
Sadly not that sharp... But it´s ok, isn´t it? What do you think?
Greetings, Marcus
Model:
Apparel:
Canon EOS 5D MK III
Sigma 35mm f/1.4 ART
TV 1/1600
AV 1.4
ISO 100
Post - Production with Photoshop
There seems to be a downright dark age confusion among people as to what is considered pornography and what is art. There is a very obvious, strong, simple distinction. Pornography is meant to arouse the body, specifically the genital area. Art is meant to arouse the mind, heart, soul. There is no idea or concept behind pornography and its sole purpose is provide instant visual sexual stimulation to the viewer, whereas art serves the sole purpose of making you think, contemplate, use your head in a complex manner that creativity stimulates in us. It would take a lot more effort and imagination to be sexually aroused by a nude work of art, for instance, than a straightforward pornographic image. Art, at its very nature, has no relation to an industry as low as pornography–works of art stand apart from it like a mansion from a mobile home. Only an idiot with an IQ of 20 wouldn’t know the difference. It’s true that art can be as explicit as porn sometimes, but how is that a bad thing if its objective is never to arouse sexually, thus putting an entirely different label on it? If art ever does use porn as a subject, only in an obvious way to make a philosophical point or social statement, to make fun of it or degrade it. Art is creation. Porn is destruction. Polar opposites. Ignorance is the enemy here. www.artlimited.net/image/en/509544
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Montblanc Elizabeth I Patron of Arts 2010 fountain pen.
1/4 You Tube vid: youtu.be/DWN22eyQ64A
Montblanc Elizabeth I writing instrument seriously tempted my pocket book but MAC preferred another holiday trip to a warm climate.
Limited Edition 4810 and Limited Edition 888
Montblanc's Patron of Art Edition has annually honoured a legendary benefactor of the arts and culture since this special writing instrument line was originally conceived in 1992. This year’s edition is dedicated to an all time great cultural force - Elizabeth I. Regarded the most successful monarch to ever ascend an English throne, under Elizabeth's astute and skillful rule, England "came of age" and, witnessing groundbreaking achievements, was transformed from a "remote backwater" to a globally dominant imperial power. Great battles were won. The New World - or the "Americas" - was discovered and the English Renaissance reached its zenith because of Elizabeth's artistic patronage.
Patron of Art Edition Elizabeth I - Limited Edition 888
Patron of Art Edition Elizabeth I - Limited Edition 4810
The "best educated woman of her generation..." Elizabeth was "passionately" interested in the arts and her "luminous" court stimulated some of the greatest artistic achievements of all time. William Shakespeare and Christopher Marlowe flourished during her reign as did the poet Edmund Spenser, the painter Nicholas Hillyard and the English composers William Byrd, John Dowland and Thomas Tallis.
Elizabeth I was also a gifted writer and the 2010 Montblanc Patron of Art Edition is therefore composed of two writing instruments conceived with sumptuously striking and clever adornments celebrating her intellect and inimitable regal flair. Patron of Art Edition Elizabeth I, limited to 4810 pieces and limited to 888 pieces, will debut in April 2010 and May 2010, respectively. And, as their presentation has always been associated with the Montblanc de la Culture Arts Patronage Award - which annually celebrates contemporary arts and cultural patrons - the Patron of Art Edition continues a story linking a historical figure with future talent.
Elizabeth I - A Legend in her Own Lifetime
Centuries after her death, Elizabeth I (1533 - 1603), is still considered as one of England's "most popular and influential rulers". She was born at Greenwich Palace on 7 September 1533 to Anne Boleyn, the second wife of Henry VIII, although her arrival was greeted with "surprise and displeasure", by the Court. The "failure" to produce a son for King Henry jeopardized Queen Anne’s life due to her husband's obsession with conceiving a male heir. Charged with adultery, she was beheaded in May 1536.
A retinue of governesses raised the young princess Elizabeth and though she was shunned by her father, Catherine Parr, the "remarkable" sixth and last wife of Henry VIII, oversaw the education which groomed the future queen for greatness and the Patron of Art Edition Elizabeth I will celebrate their special bond. Under the Cambridge scholar Roger Ascham, Elizabeth studied the classics, read history and theology and became fluent in six languages - Greek, Latin, French, Italian, Spanish and German. Her love of music and, skill as a musician, developed from the 60 instrumentalists who resided at Hatfield House, her childhood residence. From age 11, she composed prayers and poems and, when jailed for suspected treason against Mary I, her cousin in 1554, she etched onto a glass prison window a two-line verse with a diamond.
Upon ascending the throne on 15 January 1559, Elizabeth's writing focussed on government matters. She wrote powerful speeches, such as that which she delivered at Tilbury in Essex where English troops had gathered to prepare for Spanish invasion in 1588. Brandishing a silver breastplate over a flowing white velvet gown she arrived on horseback demonstrating the "courage and leadership the English expected" of a monarch - but had never been displayed by a female - and declared to the troops: “I have the body but of a weak and feeble woman but I have the heart and stomach of a king and of a King of England, too".
Nine days later, the defeat of the Spanish Armada proved England's "finest hour". Elizabeth's popularity reached a level no "English woman had enjoyed as a public figure" and she attained supreme power comparable to a "biblical and mythological figure". Her grand mode of dress overawed her subjects while the flourishing of her Renaissance court stimulated new literary, artistic and musical achievements. "Theatres thrived", and, as Shakespeare elevated the English language to its highest level of development, England’s literacy rate soared. Elizabeth attended the debut of Shakespeare's romantic comedy A Midsummer Night's Dream. Numerous works were dedicated to her including poet Edmund Spenser's masterpiece The Fairie Queen. Composers William Byrd, John Dowland and Thomas Tallis also toiled at her court.
The discoveries of adventurers Sir Francis Drake, who circumnavigated the world in 1580, Walter Raleigh's exploration of eastern Venezuela in 1594 and Humphrey Gilbert’s conquering of Newfoundland for the English throne in 1583, spearheaded a new age expansion by the end of Elizabeth's reign. Upon her passing on 24 March 1604, the pioneering monarch, it is said, "departed this life mildly like a lamb, easily like a ripe apple from the tree".
The Limited Edition Celebrating the Elizabethan Age
Patron of Art Edition Elizabeth I 4810
The design and adornments of the Patron of Art Edition Elizabeth I 4810 reflects the life, reign and heraldic regalia of Elizabeth I. Hand engraved on the 18 K gold nib is a bejewelled gold crown which she brandished ascending the throne in 1559. Lacquer barrel and cap signify the spots which appear on an ermine cape, part of the traditional coronation attire which Elizabeth also flaunted. While an ivory coloured Montblanc emblem tops the cap, the clip descends from gold plated Tudor Rose. This "double rose" motif became England’s floral emblem after Henry VII, Elizabeth's grandfather, commandeered it as the symbol of the Tudor Dynasty upon taking the crown from Richard IIII in 1485. The green cabochon embellishing the gold-plated cross upon the clip also reflects the bejewelled cross upon Elizabeth's crown.
Encircling the gold plate band adorning the cap - as well as the cone - is an elegant interlaced pattern inspired by the pretty needlework sleeve Elizabeth conceived for a prayer book she created especially for her stepmother, Catherine Parr, as a New Year's gift in 1544. Entitled The Mirror of the Sinful Soul, it was Lady Elizabeth's own English translation of the French verse originally composed by Queen Margaret of Navarre. A friend of Anne Boleyn, the French Queen gave the original manuscript to her and the religious poem was also a favourite of Catherine Parr’s. Today, Elizabeth I’s handmade book is owned by the University of Oxford's Bodleian Library. Etched by gold plated cap ring is "Video et Taceo" - or "I see and I keep silent". This maxim of Elizabeth I signified her moderate political views and cautious approach to foreign affairs.
Patron of Art Edition Elizabeth I Limited Edition 888
This 750 solid gold fountain pen features a barrel and cap in precious lacquer. Hand engraved on its 18 K gold nib is a bejewelled gold crown in which Elizabeth I ascended the throne in 1559. Topping the cap is the Montblanc emblem rendered in shimmering mother-of-pearl. The clip descends from a solid gold Tudor Rose while its embellishment - a princess cut green garnet - reflects the bejewelled crown. The intricate interlaced motif, derived from the needlework cover of The Mirror of the Sinful Soul, beautifies the solid gold cap and barrel. Elizabeth I's "Video et Taceo" maxim is embossed upon the cap ring.
Montblanc de la Culture Arts Patronage Award
Celebrating Past and Present
The Montblanc de la Culture Arts Patronage Award is presented in 11 countries and represents an exemplary bond forged between past and present and, since its inception in 1992, this merit has been directly linked with the Patron of the Art Edition. The prize, therefore, combines a tribute to an historic patron of the arts while acknowledging a contemporary one. By recognizing the importance of private patronage, the award conveys to the public its crucial role in fostering the arts and culture.
Each recipient of the Montblanc de la Culture Arts Patronage Award is chosen by an international jury of artists and receives financial support of € 15.000 in each country for a cultural project of their own choice. Montblanc also presents the honoree and the jury members with the precious Patron of Art Edition. Sought after by collectors around the world, Montblanc's Patron of Art Edition are writing instruments that will last a lifetime. And like every Montblanc writing instrument, these exceptionally handcrafted fountain pens have been created with the highest demand of craftsmanship that has made Montblanc the benchmark for writing culture.
Prized by connoisseurs and avid collectors, the Montblanc Patron of the Art Edition is a commemorative keepsake meant to be passed down through generations. Manufacturing tools, specially developed for the making of every Montblanc Limited Edition, are destroyed at the end of each production run. As a consequence, these intricately handcrafted pens are collector’s items. Limited Editions produced between 1992 and 2000, for example, have sold at auction for sums greatly exceeding their original retail price, ranging from (US) $ 2,200 to (US) $35,000. And nine years after its 1992 debut, Montblanc Patron of the Art Lorenzo de Medici sold at Christie’s in New York for more than six times its initial cost of (US) $1,292.00, ultimately fetching (US) $8,225.00.
Mei Boa-Jiu, China:
en.m.wikipedia.org/wiki/Mei_Baojiu
www.flickr.com/photos/gregsu/14914200150/in/photolist-uiq...
Mei Baojiu (Chinese: 梅葆玖; pinyin: Méi Bǎojiǔ) (29 March 1934 – 25 April 2016)[1] was a contemporary Peking opera artist, also a performer of the Dan role type in Peking Opera and Kunqu opera, the leader of Mei Lanfang Peking Opera troupe in Beijing Peking Opera Theatre. Mei's father Mei Lanfang was one of the most famous Peking opera performers. Mei Baojiu was the ninth and youngest child of Mei Lanfang. For this reason, he was called Baojiu, since in Chinese, jiu means nine.[2] Mei Baojiu was the master of the second generation of Méi School descendant, he was also Mei Lanfang's only child who is now a performer of the Dan role of the Peking Opera.[3]
Mei Baojiu: 梅葆玖
Born: 29 March 1934. Shanghai, China
Died: 25 April 2016 (aged 82) Beijing, China
Occupation: Peking opera artist
Parents: Mei Lanfang (father), Fu Zhifang (mother)
From childhood, Mei had learned Peking Opera from many artists. Mei Baojiu's first opera teacher was Wang Youqing (王幼卿), the nephew of Wang Yaoqing (王瑶卿), who had been the teacher of Mei Lanfang. Tao Yuzhi (陶玉芝) was his teacher of martial arts, while Zhu Chuanming (朱传茗), the famous performer of the Dan role type in Kunqu opera, taught him Kunqu. After that Mei learned the Dan role from Zhu Qinxin (朱琴心). Mei's regular performances of traditional opera include The Hegemon-King Bids His Concubine Farewell, Guifei Intoxicated (貴妃醉酒), Lady General Mu Takes Command (穆桂英挂帅), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施), etc. Mei has made significant contributions to cultural exchanges and promoting Peking Opera culture. Meanwhile, he also trains more than twenty students, such as Li Shengsu (李胜素), Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (胡文阁) (the only male student),[4] Tian Hui (田慧), Wei Haimin.[5]
Biography:
Mei Baojiu as a child
In the spring of 1934, Mei Baojiu was born at No. 87 Sinan Road, Shanghai.[2] Because of his comely appearance and delicate voice, his father decided to send Baojiu to learn Peking opera and hoped that Baojiu could make contributions to Méi School. Baojiu himself also showed great interest as well as gifts in Peking opera in his early life. In 1942, Mei Lanfang and his wife Fu Zhifang (福芝芳) invited Wang Youqing (王幼卿), the disciple of famous Dan role performer - Wang Yaoqing (王瑶卿), from Beijing to teach Baojiu as his first qingyi teacher while requesting Zhu Chuanming (朱传茗), one of the most prestigious performers of the Dan role type to teach Baojiu Kunqu Opera. When Mei Lanfang was free from work, he also gave directions to his son himself.[6]
When Baojiu was ten years old, he played Xue Yi (薛倚) in San Niang teaches the child (三娘教子) as his first performance in Shanghai. At the age of twelve, together with his sister Mei Baoyue (梅葆玥), Baojiu acted in Yang Silang Visits His Mother (四郎探母). Being a Qingyi (青衣) performer, he started giving performances of the Legend of the White Snake, The Story Of Su San (玉堂春) and some other traditional plays for charity since the age of 13. He also performed in Wu Jiapo Hill (武家坡) with Baoyue (梅葆玥) at the same time. When Baojiu was 16, he took part in the national tour of the Mei Lanfang Troupe, and toured the country with the troupe. Usually, Baojiu performed for the first three days, and Mei Lanfang performed plays in the rest, sometimes they also performed cooperatively, such as in Legend of the White Snake. Baojiu played the part of Xiao Qing the green snake, while his father played Bai Suzhen the white snake.[6]
Mei Lanfang used to make suggestions to Baojiu in order to make the performance of Baojiu perfect when Baojiu was young. Once, after watching the play The Story Of Sue San (玉堂春), in which Baojiu performed, he came to Baojiu and suggested that Baojiu change the way of acting the spoken parts. He mentioned that it was the most exciting time when the heroine, Sue San, got the Senior judge. For this reason, Baojiu should speak infectiously, he should speak faster and faster to create tension.[7]
Baojiu also got a chance to share the stage with some prestigious senior performers, such as Xiao Changhua (萧长华), Jiang Miaoxiang (姜妙香) and Yu Zhenfei (俞振飞).[8]
Due to the guidance of the actors from the earlier generation, Mei Baojiu's acting greatly improved and hemade a great effort to promote Méi School as well.[9]
In 1961, after Mei Lanfang died, Baojiu took over the position of the leader of Mei Lanfang Peking Opera troupe. During this time, he acted in some other well known plays, such as The mulan (木兰从军), Return of the Phoenix (凤还巢) and Lian Jinfeng (廉锦枫). However, after 1964, almost all performance of traditional plays was forbidden, according to central government regulations. For this reason, Baojiu was forced to do recording and stage lighting related work.[10]
Fourteen years later, in 1978, Baojiu returned to the Mei Lanfang Peking Opera troupe and came back to stage. He reformed the troupe and rearranged many traditional plays like Yuzhoufeng the Sword(宇宙锋), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施) as well as Royal pavilion (御碑亭) at the same time.[11]
From 1981 to 1984, together with his sister Mei Baoyue and descendants of other schools, he participated in the performance of a series memorial activities to commemorate his father. Making the eight-hour long play lasts for only three hours, he also rearranged The story of Yang Guifei in the late 1980s.[12]
In 1993, led by Baojiu, the Mei Lanfang Peking Opera troupe visited Taiwan and gave elaborately prepared performances to the public. He has made significant contributions to cultural exchanges and promoting Peking Opera culture.[13]
Baojiu cultivates more than twenty students, such as Li Shengsu, Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (the only male student), Tian Hui (田慧), Wei Haimin (魏海敏). In the last twenty years, he mainly focused on training these students.
As a member of the National Committee of the Chinese People's Political Consultative Conference (CPPCC), Mei Baojiu put forward a proposal on introducing Peking Opera into elementary schools in 2009.[14]
In March 2012, at the Chinese People's Political Consultative Conference, Mei put forward a proposal on introducing the form of animation into Peking Opera in order to make more teenagers be interested in Peking Opera.[15]
On 26 March 2012, Mei received his Ph.D. from J. F. Oberlin University in Japan.[16]
On 31 March 2016, Mei was hospitalized because of bronchospasm. He died on 25 April 2016, at the age of 82.[17]
Famous plays:
Like his father, Mei Baojiu acts Dan role in the following classic Peking opera plays. The Hegemon-King Bids His Concubine Farewell tells the sad love story of Xiang Yu and his favourite concubine Consort Yu when he is surrounded by Liu Bang’s forces. Mei plays the role of Consort Yu. Shang Changrong (the 3rd son of Shang Xiaoyun) once played the role of Xiang Yu as Mei's partner.
Guifei Intoxicated, also named Bai Hua Ting (百花亭), is about Yang Guifei. In this play she drinks down her sorrow because she is irritated by Emperor Xuanzong of Tang breaking his promise. Based on Mei Lanfang’s original work, Mei Baojiu adapted this play for The Great Concubine of Tang (大唐贵妃), a contemporary Beijing opera with historical motif in 2002. Mu Guiying Takes Command, a classic Yu opera was adapted by Mei Lanfang in 1959, and he acted the leading role the same year in celebration of the 10th anniversary of PRC.
Cooperating with famous Yu opera master Ma Jinfeng (马金凤), Mei Baojiu performed this play in the Shuang xia guo style (双下锅), which means different forms of opera performed in one play.[3]
Family:
Mei Baojiu's mother, Fu Zhifang (福芝芳), the second wife of Mei Lanfang, bore 9 children, but only 4 of them survived.
Mei Baojiu is the youngest child in his family. His eldest brother, Mei Baochen (梅葆琛) (1925-2008), was a senior engineer in Beijing's Academy of Architecture (北京建筑设计院). His elder brother, Mei Shaowu (梅绍武) (1928-2005), was a researcher of the Chinese academy of social sciences institute of the United States (中国社会科学院美国研究所) and the president of Mei Lanfang Culture-art Seminar (中国梅兰芳文化艺术研究会). His elder sister Mei Baoyue (梅葆玥) (1930-2000) was a performer of the Laosheng role type in Peking Opera, and performed together with Mei Baojiu sometimes. Mei Baojiu is the only heir to the Meipai Qingyi (梅派青衣).[3][18]
Mei Baojiu's wife is named Lin Liyuan (林丽媛), she is the consultant of Mei Lanfang Troupe. They have no children.[19]
References:
^ Mei Shaowu (梅绍武), Mei Weidong (梅卫东), Biography of Mei Lanfang (梅兰芳自述) :Appendix - studies (附录：年谱简表)
^ a b Wu Ying (吴迎), From Mei Lanfang to Mei Baojiu (从梅兰芳到梅葆玖) Page 50
^ a b c "梅氏家族 (May Family)". Archived from the original on 19 January 2012. Retrieved 7 May 2012.
^ "胡文阁被梅葆玖"看"得紧紧的(组图) (Mei Baojiu keeps a close watch on Hu Wenge (photo))". 9 January 2012. Retrieved 7 May 2012.
^ "梅葆玖简介 (About Mei Baojiu)". July 2009. Retrieved 7 May 2012.
^ a b Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page93
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page 96
^ "梅兰芳的剧照 Mei Lanfang snapshot". Archived from the original on 17 April 2012. Retrieved 7 May 2012.
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page92 - 93
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page110
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page112-113
^ Xu Beicheng (徐北城), Mei Lanfang and the 20th century (梅兰芳与二十世纪) :chapter 10. the Dance of Mei (第十章：梅之舞)
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page113-121
^ "Mei Baojiu". 11 March 2009. Retrieved 7 May 2012.
^ "Mei Baojiu". 7 March 2012. Retrieved 29 May 2012.
^ "Mei Baojiu". 29 March 2012. Retrieved 29 May 2012.
^ "京剧大师梅葆玖去世享年82岁 世间从此再无"梅先生"". people.cn. 25 April 2016. Retrieved 31 January 2019.
^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page84 - 90
^ "About Mei Baojiu". 29 March 2012. Archived from the original on 5 December 2012. Retrieved 29 May 2012.
Martine Franck, France:
en.m.wikipedia.org/wiki/Martine_Franck
Martine Franck (2 April 1938 – 16 August 2012) was a British-Belgian documentary and portrait photographer. She was a member of Magnum Photos for over 32 years. Franck was the second wife of Henri Cartier-Bresson and co-founder and president of the Henri Cartier-Bresson Foundation.
Martine Franck
Photo of Martine Franck.jpg
Franck in 1972, by Henri-Cartier Bresson
Born: 2 April 1938 Antwerp, Belgium
Died: 16 August 2012 (aged 74) Paris, France
Occupation
Documentary and portrait photographer
Spouse(s): Henri Cartier-Bresson (m. 1970; died 2004)
Children: 1
Contents:
Early life:
Franck was born in Antwerp[1] to the Belgian banker Louis Franck and his British wife, Evelyn.[2] After her birth the family moved almost immediately to London.[2] A year later, her father joined the British army, and the rest of the family were evacuated to the United States, spending the remainder of the Second World War on Long Island and in Arizona.[3]
Franck's father was an amateur art collector who often took his daughter to galleries and museums. Franck was in boarding school from the age of six onwards, and her mother sent her a postcard every day, frequently of paintings. Ms. Franck, attended Heathfield School, an all-girls boarding school close to Ascot in England, and studied the history of art from the age of 14. "I had a wonderful teacher who really galvanized me," she says. "In those days she took us on outings to London, which was the big excitement of the year for me."[4]
Career:
Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead.[5]
In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life. By 1969 she was a busy freelance photographer for magazines such as Vogue, Life and Sports Illustrated, and the official photographer of the Théâtre du Soleil (a position she held for 48 years).[6] From 1970 to 1971 she worked in Paris at the Agence Vu photo agency, and in 1972 she co-founded the Viva agency.[2]
In 1980, Franck joined the Magnum Photos cooperative agency as a "nominee", and in 1983 she became a full member. She was one of a very small number of women to be accepted into the agency.
In 1983, she completed a project for the now-defunct French Ministry of Women's Rights and in 1985 she began collaborating with the non-profit International Federation of Little Brothers of the Poor. In 1993, she first traveled to the Irish island of Tory where she documented the tiny Gaelic community living there. She also traveled to Tibet and Nepal, and with the help of Marilyn Silverstone photographed the education system of the Tibetan Tulkus monks. In 2003 and 2004 she returned to Paris to document the work of theater director Robert Wilson who was staging La Fontaine's fables at the Comédie Française.[7]
Nine books of Franck's photographs have been published, and in 2005 Franck was made a chevalier of the French Légion d'Honneur.[8]
Franck continued working even after she was diagnosed with bone cancer in 2010. Her last exhibition was in October 2011 at the Maison Européenne de la Photographie. The exhibit consisted of 62 portraits of artists "coming from somewhere else” collected from 1965 through 2010. This same year, there were collections of portraits shown at New York's Howard Greenberg Gallery and at the Claude Bernard Gallery, Paris.[9]
Work:
Franck was well known for her documentary-style photographs of important cultural figures such as the painter Marc Chagall, philosopher Michel Foucault and poet Seamus Heaney, and of remote or marginalized communities such as Tibetan Buddhist monks, elderly French people, and isolated Gaelic speakers. Michael Pritchard, the Director-General of the Royal Photographic Society, observed: "Martine was able to work with her subjects and bring out their emotions and record their expressions on film, helping the viewer understand what she had seen in person. Her images were always empathetic with her subject." In 1976, Frank took one of her most iconic photos of bathers beside a pool in Le Brusc, Provence. By her account, she saw them from a distance and rushed to photograph the moment, all the while changing the roll of film in her camera. She quickly closed the lens just at the right moment, when happened to be most intense.[9]
She cited as influences the portraits of British photographer Julia Margaret Cameron, the work of American photojournalist Dorothea Lange and American documentary photographer Margaret Bourke-White.[8] In 2010, she told The New York Times that photography "suits my curiosity about people and human situations." [10]
She worked outside the studio, using a 35 mm Leica camera, and preferring black and white film.[2] The British Royal Photographic Society has described her work as "firmly rooted in the tradition of French humanist documentary photography."[11]
Personal life:
Franck was often described as elegant, dignified and shy.[12][13][14]
In 1966, she met Henri Cartier-Bresson, thirty years her senior, when she was photographing Paris fashion shows for The New York Times. In 2010, she told interviewer Charlie Rose "his opening line was, ‘Martine, I want to come and see your contact sheets.’" They married in 1970, had one child, a daughter named Mélanie, and remained together until his death in 2004.[2]
Throughout her career Franck, who was sometimes described as a feminist, was uncomfortable being in the shadow of her famous husband and wanted to be recognized for her own work. In 1970, the Institute of Contemporary Arts in London planned to stage Franck's first solo exhibition: when she saw that the invitations included her husband's name and said he would be present at the launch, she cancelled the show. Franck once said that she put her husband's career ahead of her own. In 2003 Franck and her daughter launched the Henri Cartier-Bresson Foundation to promote Cartier-Bresson's photojournalism, and in 2004 Franck became its president.[8]
Franck was diagnosed with leukemia in 2010, and died in Paris in 2012 at 74 years old.[2]
Publications:
Martine Franck: Dun jour, l'autre. France: Seuil, 1998. ISBN 978-2-02-034771-6
Tibetan Tulkus, images of continuity. London: Anna Maria Rossi & Fabio Rossi Publications, 2000. ISBN 978-0-9520992-8-4
Tory Island Images. Wolfhound Press, 2000. ISBN 978-0-86327-561-6
Martine Franck Photographe, Musée de la Vie romantique, Paris-Musées/Adam Biro, 2002. ISBN 978-2-87660-346-2
Fables de la Fontaine (production by Robert Wilson), Actes Sud. Paris, 2004
Martine Franck: One Day to the Next. Aperture, 2005. ISBN 978-0-89381-845-6
Martine Franck. Louis Baring. London: Phaidon, 2007. ISBN 978-0-7148-4781-8
Martine Franck: Photo Poche. France: Actes Sud, 2007. ISBN 978-2-7427-6725-0
Women/Femmes, Steidl, 2010. ISBN 978-3-86930-149-5
Venus d'ailleurs, Actes Sud, 2011
ExhibitionsEdit
La vie et la mort, Rencontres d'Arles, Arles, France, 1980[citation needed]
Martine Franck Photographe, Musée de la Vie romantique, Paris, 2004[citation needed]
Les Rencontres, Rencontres d'Arles, Arles, France, 2004[citation needed]
ReferencesEdit
^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 141. ISBN 0714878774.
^ a b c d e f Leslie Kaufman (22 August 2012). "Martine Franck, Documentary Photographer, Dies at 74". New York Times. Retrieved 25 August 2012.
^ Tori (21 August 2012). "'Magnum has lost a point of reference, a lighthouse, and one of our most influential and beloved members – Martine Franck". Film's Not Dead. Archived from the original on 26 August 2012. Retrieved 25 August 2012.
^ Grey, Tobias (21 October 2011). "Martine Franck's Curious Lens". ProQuest 899273270.
^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". New York Times. Retrieved 25 August 2012.
^ Wallace, Vaughan (20 August 2012). "Martine Franck: 1938 – 2012". Life magazine. Retrieved 25 August 2012.
^ Magnumphotos
^ a b c Hopkinson, Amanda (19 August 2012). "Martine Franck obituary". Guardian. Retrieved 25 August 2012.
^ a b Childs, Martin (29 August 2012). "The Independent". The Independent. Independent Print Ltd.
^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". The New York Times. Retrieved 19 September 2016.
^ Laurent, Olivier (17 August 2012). "Magnum Photos member and photographer Martine Franck has died". British Journal of Photography. Archived from the original on 19 August 2012. Retrieved 25 August 2012.
^ Gill, A.A. (2008). Previous convictions: assignments from here and there (1st Simon & Schuster trade pbk. ed.). New York: Simon & Schuster Paperbacks. p. 90. ISBN 978-1416572497.
^ Walker, David (17 August 2012). "Photographer Martine Franck dies". Photo District News. Retrieved 25 August 2012.
^ "Wife of Henri Cartier-Bresson, Martine Franck, dies at 74". Art Media Agency. 20 August 2012. Retrieved 25 August 2012.
External linksEdit
Henri Cartier-Bresson Foundation
New York Times "Martine Franck's Pictures Within Pictures"
Martine Franck 1991 catalogue of Taipei Fine Art Museum, with the pencil painting of Henri Cartier-Bresson.
Dr. rer. pol. Arend Oetker, Germany:
de.m.wikipedia.org/wiki/Arend_Oetker
Arend Oetker was born on March 30, 1939 in Bielefeld, North Rhine-Westphalia, Germany and studied business administration and political science in Hamburg, Berlin and Cologne as well as Marketing at Harvard Business School. He received his doctorate in 1966 from the University of Cologne.
Dr. Arend Oetker, Managing Partner of Dr. Arend Oetker Holding, is Honorary Chairman of the Board and majority shareholder of the food company Hero AG, Deputy Chairman and major shareholder of KWS Saat AG and chairman of the board of Cognos AG.
Furthermore, Dr. Arend Oetker is actively involved as president of the German Council on Foreign Relations (Deutsche Gesellschaft für Auswärtige Politik e. V.), board member of the Confederation of German Employers‘ Associations (Bundesvereinigung der Deutschen Arbeitgeberverbände e. V.) and honorary member of the Federation of German Industries (Bundesverband der Deutschen Industrie e. V.). He has received a number of accolades in the field of visual arts and music.
Dr. Arend Oetker is married and has five children.
Dr. William Mong Man Wai, Hong Kong:
en.m.wikipedia.org/wiki/William_Mong
William Mong Man-wai GBS (Chinese: 蒙民偉, 7 November 1927 – 20 July 2010) was the chairman of the Shun Hing Group, the distributor of Matsushita products (National, Panasonic, Technics) in Hong Kong.
He attended La Salle College in Hong Kong. Mong Man-wai died from cancer on 20 July 2010, aged 82. Many buildings in Hong Kong universities are named after him.[1]
Award received:
Gold Bauhinia Star
honorary doctor of the University of Hong Kong
honorary doctor of the Tsinghua University (2007)
honorary doctor of the Chinese University of Hong Kong.
Giulio Mogol, Italy:
Giulio Rapetti (born 17 August 1936), in art Mogol (Italian pronunciation: [moˈɡɔl]), is an Italian music lyricist. He is best known for his collaborations with Lucio Battisti, Gianni Bella, Adriano Celentano and Mango.
Career:
Mogol was born in Milan. His father, Mariano Rapetti, was an important director of the Ricordi record label, and had been in his own time a successful lyricist of the 1950s. Young Giulio, who was likewise employed by Ricordi as a public relations expert, began his own career as a lyricist against his father's wishes.
His first successes were "Il cielo in una stanza", set to music by Gino Paoli and sung by Mina; "Al di là", a piece that won the 1961 Sanremo Festival, performed by Luciano Tajoli and Betty Curtis; "Una lacrima sul viso", which was a huge hit for Bobby Solo in 1964. Another famous song from 1961 was "Uno dei tanti" (English: "One among many") which was rewritten by Jerry Leiber and Mike Stoller in 1963 for Ben E. King and released under the title "I (Who Have Nothing)".
In addition to writing new lyrics in Italian for a great many singers, Mogol also took it upon himself, in years in which familiarity with the English language in Italy was still sparse, to translate many hits from overseas, especially film soundtracks, but also works of Bob Dylan and David Bowie.
In 1965, he met Lucio Battisti, a young guitarist and composer from the Latium region of central Italy. Mogol's lyrics contributed to Battisti's initial success as an author, in megahits such as "29 settembre", and led him to undertake the role of producer as well, as happened with the song "Sognando la California", which Mogol himself had translated from the signature number of The Mamas & the Papas, "California Dreamin'", and with "Senza luce" ("Without light"), an Italian rendering of "A Whiter Shade of Pale" by Procol Harum.
In 1966, Mogol, overcoming resistance from his record label, convinced Battisti to perform his own songs. The lyricist's intuition would have one of the most rewarding outcomes of the history of Italian music, as Battisti, after a halting start, would explode as a singer, becoming one of the most successful artists in the panorama of Italian music. In the same year, Mogol left the Ricordi label to create his own with Battisti, called Numero Uno, which brought together many celebrated Italian singer-songwriters. The pair wrote songs as well for Bruno Lauzi and Patty Pravo. Their greatest chart success came from the songs written for Mina in 1969–1970.
In 1980, Mogol broke the artistic relationship with Battisti, and successfully continued his independent career as a lyricist with the noted singer-songwriter Riccardo Cocciante, with whom he wrote the texts for some successful albums, first in the series being "Cervo a Primavera".
Mogol (2007)
Lately, he began his collaboration with Mango, co-writing successful songs like "Oro", "Nella mia città", "Come Monna Lisa" and "Mediterraneo".
Mogol has formed a stable partnership with Adriano Celentano; his songs for Celentano are scored by the Sicilian singer-songwriter Gianni Bella. This collaboration has produced the delicate song "L'arcobaleno", included in the CD Io non so parlar d'amore, which is considered dedicated to Battisti, who had recently died. Mogol has also collaborated with singer-songwriter Jack Rubinacci.
Mari Natsuki, Japan:
en.m.wikipedia.org/wiki/Mari_Natsuki
Junko Nakajima (中島 淳子, Nakajima Junko, born 2 May 1952), more commonly known by her stage name Mari Natsuki (夏木 マリ, Natsuki Mari), is a Japanese singer, dancer and actress.[1] Born in Tokyo, she started work as a singer from a young age. In 2007, Natsuki announced her engagement to percussionist Nobu Saitō, with their marriage taking place in Spring 2008.
Mari Natsuki
MJK 08427 Mari Natsuki (Berlinale 2018).jpg
Mari Natsuki (2018)
Born: Mari Natsuki. 夏木 マリ. 2 May 1952 (age 67) Tokyo, Japan
Nationality: Japanese
Other names: Junko Nakajima
Occupation: Singer, dancer, actress
Natsuki has participated in musical theatre, including that of Yukio Ninagawa. She provided the voice of Yubaba in Spirited Away, played the young witch's mother in the Japanese TV remake of Bewitched and has twice been nominated for a Japanese Academy Award. Natsuki played the character Big Mama in the Japanese version of Metal Gear Solid 4: Guns of the Patriots[2] and has also acted in television dramas, such as the 2005 series Nobuta o Produce, playing the Vice Principal, Katharine.
Contents:
Film:
Otoko wa Tsurai yo series:
Tora-san, My Uncle (1989)
Tora-san Takes a Vacation (1990)
Tora-san Confesses (1991)
Tora-San Makes Excuses (1992)
Tora-san to the Rescue (1995)
Tora-san, Wish You Were Here (2019)
Onimasa (1982)
Legend of the Eight Samurai (1983)
Kita no Hotaru (1984)
Jittemai (1986)
Death Powder (1986)
Otoko wa Tsurai yo: Boku no Ojisan (1989)
The Hunted (1995)
Samurai Fiction (1998)
Spirited Away (2001)
Shōjo (2001)
Ping Pong (2002)
Okusama wa Majo (2004)
Sugar and Spice (2006)
Sakuran (2007)
Girl In The Sunny Place (2013)
Isle of Dogs (2018)
Ikiru Machi (2018)
Vision (2018)
Dai Kome Sōdō (2021), Taki
Television: Yoshitsune (2005), Carnation (2011), Montage (2016), Meet Me After School (2018)
Video Games: Metal Gear Solid 4: Guns of the Patriots (Big Mama) (2008), Uncharted 3: Drake's Deception (Katherine Marlowe) (2011)
Japanese dub:
Live-action: Feud (Joan Crawford (Jessica Lange)), The West Wing (C.J. Cregg (Allison Janney))
Animation: Moana (Tala)
References:
^ Mills, Ted. "Apple Music Preview. About Mari Natsuki". music.apple.com. Retrieved 9 November 2019.
^ Metal Gear Solid 4: Guns Of The Patriots: MGS4 Voice Cast Announced Archived 30 September 2007 at the Wayback Machine.
Changjae Shin, South Korea:
en.m.wikipedia.org/wiki/Shin_Chang-jae
Shin Chang-jae (born 1953/54) is a Korean billionaire businessman, Chairman and CEO of Kyobo Life Insurance Company.
Shin Chang-jae
Born: 1953/1954 (age 65–66)[1]
Nationality: Korean
Alma mater: Seoul National University
Occupation: Chairman and CEO, Kyobo Life Insurance Company
Net worth: $2.3 billion (June 2015)[1]
Spouse(s): married
Children: 2 sons
Early life:
He is the son of Shin Yong-ho, who founded Kyobo Life Insurance Company in 1958.[1] he has a doctorate from Seoul National University.[1]
Career: Kyobo Life Insurance Building, Seoul
He trained as an obstetrician and worked as a professor at the Seoul National University medical school.[1]
He has been Chairman and CEO of Kyobo Life Insurance Company since 2000.[1] In June 2015, Forbes estimated his net worth at US$2.3 billion.[1]
Personal life: He is married with two sons and lives in Seoul, South Korea.[1]
References: ^ a b c d e f g h "Shin Chang-Jae". Forbes. Retrieved 9 June 2015.
Patrick Charpenel, Mexico;
Patrick Charpenel will be the new executive director of El Museo del Barrio in New York.
Charpenel is a Mexico City–based curator who has worked extensively in Mexico as well as internationally. He organized a Gabriel Orozco retrospective at the Museo del Palacio de Bellas Artes in Mexico City in 2006 and an exhibition of work by Franz West at the Museo Tamayo Arte Contemporáneo in 2009. He also oversaw the Art Public section for the 2009 and 2010 editions of Art Basel Miami Beach.
Charpenel served as the executive director of Museo Jumex, the private museum in Mexico City of ART news Top 200 collector Eugenio López Alonso. (Charpenel resigned from his post in 2015 amid the controversy over the cancellation of a Hermann Nitsch show.) Charpenel is also a writer and a collector of “a heterogeneous group of works” that focuses on such interests as “the structure of the global economy and the extension of artistic experience into the social sphere.”
Patrick Charpenel is an art historian and collector currently working as an independent curator in Mexico City. He holds a graduate degree in philosophy. Charpenel has curated numerous exhibitions including Franz West, Tamayo Museum, Mexico City, Mexico (2006); Sólo los personajes cambian, Museum of Contemporary Art, Monterrey, Mexico (2004); Inter.play, Moore Space, Miami, Florida (2003); Edén, Jumex Collection, Mexico City, Mexico (2003); and ACNÉ, Museum of Modern Art, Mexico City, Mexico (1995). He has numerous critical texts published in catalogues and magazines.
2018 Bienvenidos a El Museo del Barrio!
We are excited to announce the appointment of our new Executive Director, Patrick Charpenel. El Museo del Barrio is thrilled to have Charpenel join the institution’s leadership and we look forward to seeing what he will bring to the legacy of this museum.
YouTube: youtu.be/l1Amlj49bt8
Laura Garcia-Lorca de los Rios, Spain:
Gloria Giner de los Ríos García (28 March 1886 – 6 February 1970) was a Spanish teacher at the Escuela Normal Superior de Maestras and the Institución Libre de Enseñanza. The author of innovative manuals dedicated to the teaching of history and geography,[1] she, together with Leonor Serrano Pablo [es], developed the educational "recipe" that they called "enthusiastic observation". They also worked to change the androcentric canon of geographical studies to include women.[2]
Gloria Giner de los Ríos García
Born: 28 March 1886 Madrid, Spain
Died: 6 February 1970 (aged 83) Madrid, Spain
Resting place: Civil Cemetery of Madrid [es]
Occupation: Teacher
Spouse(s): Fernando de los Ríos
Children: Laura de los Ríos Giner [es]
Parents: Hermenegildo Giner de los Ríos [es] (father), Laura García Hoppe [es] (mother)
She lived in exile during the Francoist Spain era, forming part of the intellectual elite that carried out educational, philological, literary, legal, and cultural work. Her family had close connections to that of poet Federico García Lorca.
Biography:
Gloria Giner de los Ríos García was born in Madrid on 28 March 1886. The daughter of Laura García Hoppe [es] and Hermenegildo Giner de los Ríos [es], she spent her childhood and adolescence in Madrid, Alicante, and Barcelona, cities where her father held the Chair of Philosophy. After finishing high school in 1906 and teaching in 1908, she completed her training by attending classes at the Institución Libre de Enseñanza and taking courses in art, pedagogy, and philosophy.[3] In 1909, she was promoted to the Escuela de Estudios Superiores de Magisterio [es].[1]
Marriage, family, and social life:
On 1 July 1912, Giner married Fernando de los Ríos, who had obtained the Chair of Law at the University of Granada. It was in this city that the couple took up residence, and in which Gloria was a teacher at the Normal School, by right of consort at first, and later in her own position.[3] A year later, their daughter Laura de los Ríos Giner [es] was born. In Granada, the Ríos Giner family became friends with the García Lorca family, with Manuel de Falla, and with Berta Wilhelmi and her husband Eduardo Domínguez. Wilhelmi had been in contact with the Institución Libre de Enseñanza and had organized some community schools in Almuñécar.[4] With her collaboration, Giner organized the education of her daughter Laura and other children, including Isabel García Lorca [es], in order to separate them from Granada's private education system.[3]
Laura de los Ríos and Isabel García Lorca:
Federico García Lorca was one of the select circle of friends of the Ríos family. He dedicated the poem Romance sonámbulo to Fernando and Gloria,[5] and was the one who introduced their daughters, Laura de los Ríos and Isabel García Lorca. The friendship between the latter was very intense and lasting. They became sisters-in-law when Laura married Federico's younger brother Francisco [es]. In an interview, Isabel Garcia Lorca recalled:
Gloria Giner was an extraordinary being. Well, of character, I think there was a certain similarity in all of them, some high moral tension. People a little demanding with what others did and what they could do. They were like that down deep, including my mother.[6]
Laura, in another interview, told of her mother's life in Granada:
My mother attended her classes every day...in the afternoon she prepared her classes and helped my father. She translated from German, the language my father and a German teacher in Granada had taught her. She also translated from French, which she knew very well, from Greek and Latin...lovingly and intellectually my parents were a very well-matched marriage.[7]
Professional career:
In 1931, the Provisional Government of the Republic appointed her husband Minister of Justice, and in December, Minister of Public Instruction. Giner told her daughter, "I'm not going to give up my career and live as a minister."[8] Nonetheless she performed some ceremonial functions and accompanied her husband on trips through Spain.[3] In 1932 she was on leave as a teacher at the Normal School, but continued teaching at the Institución Libre de Enseñanza. In 1933, after her husband resigned from government office, she rejoined teaching by accepting a position in Zamora. For three courses she lived alone in a hotel room three days a week, returning to Madrid for the rest of the week.[8] In Zamora, as in Granada, society shunned her for being the wife of a socialist and not attending religious services.[7]
Exile:
At the end of September 1936, Fernando de los Ríos was appointed ambassador of Spain to the United States, a position he held until March 1939. Gloria Giner moved to Washington, D.C. with her daughter, her mother, and a nephew of her husband. Fernanda Urruti, Fernando's mother, would later join them. In Washington, Giner was invited to several meetings that Eleanor Roosevelt organized in the White House.[3] During the Civil War, Fernando de los Ríos was separated from his professorship at the University of Madrid. In 1939, the Franco government definitively separated him from his chair and dismissed him.
Fernando de los Ríos taught at The New School for Social Research in New York, an institution founded to welcome European intellectuals who emigrated for political reasons.[5] Giner was a professor at Columbia University.[3][9] The Ríos-Giner family lived in exile in the United States, which did not recognize Spanish Republican exiles and subjected those who wanted to enter to immigration laws. However, university students and artists were exempt from the rigid immigration quota, provided they were endorsed by US citizens or claimed by a university. Gloria was one of the exiled academics who passed through American universities and formed an intellectual elite.[10]
In 1942, her daughter Laura married Francisco García Lorca, younger brother of the poet Federico, in the Mead Chapel of Middlebury College, where both were professors at the Spanish School.[11] The couple had three daughters, and the family lived together in a New York apartment. In addition to preparing classes, writing poems, and working on the publication of her works, Giner took care of her three granddaughters, took them out for walks and, if necessary, took them on the bus and subway in New York.
In 1949, Fernando de los Ríos died. Over 50 personalities of politics and culture attended the funeral. José de los Ríos – the younger brother of Fernando and Francisco García Lorca – presided over the dual family. Fernando's wife, mother, and daughter stayed at the house during the funeral, in accordance with Spanish custom at the time.
Return to Spain:
Gloria Giner returned to Spain with her daughter's family in 1965. She died in Madrid on 6 February 1970.[12] She was buried in the Civil Cemetery of Madrid [es], and her husband's remains were reinterred there alongside hers on 28 June 1980.[13]
Teaching methods:
Gloria Giner and her great friend Leonor Serrano Pablo [es] worked together on the teaching of geography in order to connect with students.[14] Giner defended the formative capacity of the plastic arts "as a real basis for the teaching of history in the first years of the formation of the culture of the child". Her 1935 book Cien lecturas históricas became a prominent text for educational reformers inspired by the work of Rafael Altamira.[1]
With Altamira and Maria Montessori as references, they developed didactic methods that, in Serrano's words, revolved around "enthusiastic observation". This consisted of teaching geography in dialogue with the students, strengthening their physical and emotional relationship with the environment. Another component of enthusiastic observation was emotional. Impositions of rote memorization were eliminated. In Giner's words, "the soul was educated and the spirit strengthened".
Serrano and Giner also advocated for the meaningful inclusion of women in the androcentric canon of studies on geography. The Dictionary of the Royal Spanish Academy had, in 1803, included the meaning of the word hombre (man) to refer to all mankind. Taking the term as inclusive of women, they understood that it forced men to relate to nature as women did. Serrano considered that rendering the androcentric references in geography meaningless would foster a "new creative, loving, anti-destructive, and anti-war humanity".[2] In the opinion of professor Ana I. Simón Alegre, this teaching, in the language of the 21st century, could be called the development of environmental education or the first manifestations of ecofeminism.[15]
Giner's last book, Por tierras de España (1962), also incorporated audio-lingual teaching methods.[9]
Works:
Historia de la pedagogía (1910)
Weimer, Hermann 1872-1942 (translation)
Geografía Primer grado. Aspectos de la naturaleza y vida del hombre en la tierra (1919)
Geografía: Primer grado (1919), with Federico Ribas (1890–1952)
Geografía general. El cielo, la Tierra y el hombre (1935)
Cien lecturas históricas (1935)
Lecturas geográficas. Espectáculos de la naturaleza, paisajes, ciudades y hombres (1936)
Romances de los ríos de España (1943)
Manual de historia de la civilización española (1951)
Cumbres de la civilización española: Interpretación del espíritu español individualizado en diecinueve figuras representativas (1955)
El paisaje de Hispanoamérica a través de su literatura: (antología) (1958)
Introducción a la historia de la civilización española (1959)
Por tierras de España (1962), with Luke Nolfi, ISBN 9780030800238
References:
^ a b c Duarte-Piña, Olga (2015). La enseñanza de la historia en la educación secundaria [Teaching of History in Secondary Education] (Thesis) (in Spanish). University of Seville. pp. 105–108. Retrieved 15 July 2019 – via Dialnet.
^ a b Simón Alegre, Ana I.; Sanz Álvarez, Arancha (January–June 2010). "Prácticas y teorías de descubrir paisajes: Viajeras y cultivadoras del estudio de la geografía en España, desde finales del siglo XIX hasta el primer tercio del XX" [Practices and Theories of Discovering Landscapes: Travelers and Cultivators of the Study of Geography in Spain, from the End of the 19th Century to the First Third of the 20th]. Arenal. Revista de historia de las mujeres (in Spanish). 17 (1): 55–79. ISSN 1134-6396. Retrieved 15 July 2019 – via Dialnet.
^ a b c d e f Ruiz-Manjón, Octavio (2007). "Gloria Giner de los Ríos: noticia biográfica de una madrileña" [Gloria Giner de los Ríos: Biographical Report of a Woman from Madrid]. Cuadernos de historia contemporánea (in Spanish) (Extra 1): 265–272. ISSN 0214-400X. Retrieved 15 July 2019 – via Dialnet.
^ Ruiz-Manjón, Octavio (31 May 2007). "Fernando de los Ríos. Un intelectual en el PSOE". El Cultural (in Spanish). Archived from the original on 10 March 2016. Retrieved 15 July 2019.
^ a b "Ríos Urruti, Fernando de los (1879–1949)" (in Spanish). Charles III University of Madrid. Retrieved 15 July 2019.
^ Méndez, José. "Isabel García Lorca". Revista Residencia (in Spanish). Retrieved 15 July 2019.
^ a b Rodrigo, Antonia (1 May 1982). "Laura de los Ríos". Revista Triunfo (in Spanish). No. 19. p. 64. Retrieved 15 July 2019.
^ a b "La niña que tocaba con Falla" [The Girl Who Played With Falla]. Granada Hoy (in Spanish). 8 March 2009. Retrieved 15 July 2019.
^ a b "Local Pair Co-Author Spanish Text". Democrat and Chronicle. 26 December 1962. p. 15. Retrieved 15 July 2019 – via Newspapers.com.
^ García Cueto, Pedro (30 April 2015). "Dos visiones del exilio cultural español: Vicente Llorens y Jordi Gracia" [Two Visions of Spanish Cultural Exile: Vicente Llorens and Jordi Gracia]. Fronterad (in Spanish). Archived from the original on 25 July 2018. Retrieved 15 July 2019.
^ Seseña, Natacha (26 December 1981). "Laura de los Ríos, un duelo de labores y esperanzas" [Laura de los Ríos, a Duel of Labors and Hopes]. El País (in Spanish). Retrieved 15 July 2019.
^ "Doña Gloria Giner de los Ríos". El Tiempo (in Spanish). 13 February 1970. p. 4. Retrieved 15 July 2019 – via Google News.
^ "Los restos de Fernando de los Ríos recibieron sepultura en el cementerio civil de Madrid" [The Remains of Fernando de los Ríos Buried in the Civil Cemetery of Madrid]. El País (in Spanish). 29 June 1980. Retrieved 15 July 2019.
^ Ortells Roca, Miquel; Artero Broch, Inmaculada (1 December 2013). "¿Para qué sirven las inspectoras? Leonor Serrano: La pedagogía y/contra el poder" [What are Inspectors For? Leonor Serrano: Pedagogy and/Against Power]. Quaderns (in Spanish) (76). Retrieved 15 July 2019.
^ Simón Alegre, Ana I. (1 March 2013). "Los inicios del ecofeminismo en España" [The Beginnings of Ecofeminism in Spain]. El Ecologista (in Spanish) (76). Retrieved 15 July 2019.
Further readingEdit
Fuentes, Víctor (2010). "'Manhattan transfers' personales al trasluz del exilio republicano en Nueva York". In Faber, Sebastiaan (ed.). Contra el olvido: el exilio español en Estados Unidos (in Spanish). Instituto Franklin de Estudios Norteamericanos. pp. 223–241. ISBN 9788481388701.
Zulueta, Carmen (2001). "Los domingos de don Fernando" [Sundays with Don Fernando]. Fundamentos de antropología (in Spanish) (10–11): 130–137.
Candida Gertler & Yana Peel, United Kingdom:
Candida Gertler (born 1966/1967) OBE is a British/German art collector, philanthropist, and former journalist.[2]
Candida Gertler
Born: 1966/1967 (age 52–53)[1]. Frankfurt am Main, Germany
Nationality: British, German
Occupation: Art collector
Net worth: £150 million (2009)
Spouse(s): Zak Gertler
Children: 2
Early life:
She was born in Frankfurt am Main, Germany, to Romanian Jewish immigrant parents.[1] [3] She studied journalism and law.[1]
Career:
In 2003 Gertler and Yana Peel founded the Outset Contemporary Art Fund.[4]
In June 2015, she was given an OBE "for services to Contemporary Visual Arts and Arts Philanthropy".[5]
She is a member of the Tate International Council.[6]
Personal life:
She is married to Zak Gertler.[7] They are Jewish, and have two children.[8]
He has been called "one of London's leading property developers".[7] In 2009, Zak Gertler and family had an estimated net worth of £150 million, down from £250 million in 2008.[9] "The Gertlers developed offices in Germany, moving into the London market in the 1990s."[9]
References:
^ a b c "The Tate's Secret Weapon: Outset". Art Market Monitor. 25 August 2009. Retrieved 12 April 2019.
^ "A missionary for art". Arterritory.com - Baltic, Russian and Scandinaviawn Art Territory. Retrieved 12 April 2019.
^ ""Artfully Dressed: Women in the Art World", Volume IV: Collectors & Patrons". Issuu. Retrieved 12 April 2019.
^ www.arterritory.com/en/art_market/collections/6202-a_miss...
^ "Candida GERTLER". www.thegazette.co.uk. Retrieved 12 April 2019.
^ "Interview with Candida Gertler, OBE". Artkurio Consultancy. Retrieved 12 April 2019.
^ a b "The London Magazine". www.thelondonmagazine.co.uk. Retrieved 12 April 2019.
^ parkeastsynagogue.org/wp-content/uploads/2019/02/Annoucem...
^ a b "Zak Gertler and family". The Sunday Times. 26 April 2009. Retrieved 12 April 2019.
Yana Peel (born June 1974) is a Canadian executive, businesswoman, children's author and philanthropist.[2] She was CEO of the Serpentine Galleries from 2016 to 2019, and was previously a board member.[3][4]
Yana Peel:
Born: Yana Mirkin[1]. June 1974 (age 45). Leningrad, USSR (now Russia)
Nationality: Canadian
Alma mater: McGill University, London School of Economics
Predecessor: Julia Peyton-Jones
Spouse(s): Stephen Peel (m. 1999)
Children: 2
Peel is a co-founder of the Outset Contemporary Art Fund (with Candida Gertler), and Intelligence Squared Asia, and was CEO of Intelligence Squared Group from 2013 to 2016.[5]
Peel has several advisory positions including the Tate International Council, V-A-C Foundation, and the NSPCC therapeutic board.[6][7] She has been an advisor to the British Fashion Council, Asia Art Archive, Lincoln Center, Para Site and the Victoria and Albert Museum, where she founded the design fund.[6][8][9][7]
Early life:
Yana Peel was born in June 1974[10] in Leningrad (now St. Petersburg), Russia. Her family emigrated to Canada via Austria in 1978.[3] She grew up in Toronto, Ontario.[11]
Peel studied Russian studies at McGill University during the 1990s. [12][3][1] In 1996,[13] while being a student she co-organised a fashion show for charity.[1][6][14] After that, Peel undertook a post-graduate degree in economics at the London School of Economics.[3][11] Peel was a member of the 2011 class of the World Economic Forum's Young Global Leaders programme.[15]
Career:
Goldman Sachs:
Peel started her career in the equities division of Goldman Sachs in 1997 in London, and became an executive director before leaving in 2003.[16][6][3][2]
Outset Contemporary Art Fund:
Peel co-founded the charity Outset Contemporary Art Fund in 2003 with Candida Gertler.[17][6][11] Peel and Gertler generated a model whereby artists could be presented to potential donors in order to raise funds to purchase their work, or to fund new commissions with a view to donating them to public institutions.[6] The Fund purchased over 100 pieces for the Tate Modern, and commissioned work by artists including Francis Alys, Yael Bartana, Candice Breitz and Steve McQueen.[6][16]
Intelligence Squared:
In 2009, Peel co-founded Intelligence Squared Asia with Amelie Von Wedel, a not-for-profit platform for hosting live debates in Hong Kong.[18][17][19] In 2012 Peel became CEO of Intelligence Squared Group,[18][20] bringing the live events business out of its financial difficulties.[6] Peel has hosted interviews including: Olafur Eliasson and Shirin Neshat at Davos,[21] Ai Wei Wei at the Cambridge Union.[22]
Serpentine Galleries:
In April 2016, Peel was appointed to the role of CEO of the Serpentine Galleries.[23][3] Peel said it was her "mission to create a safe space for unsafe ideas",[2] and to promote a "socially conscious Serpentine".[11] She indicated that she wanted to give artists a greater say in the development of the Serpentine Galleries, in order to give "artists a voice in the biggest global conversations".[11] Peel worked in tandem with the artistic director, Hans Ulrich Obrist.[6]
Peel furthered the Serpentine Galleries' technological ambitions, introducing digital engagement initiatives including Serpentine Mobile Tours[24] and the translation of the exhibition Zaha Hadid: Early Paintings and Drawings into Virtual Reality.[25][26] Peel stated that she was "committed to maintaining and open-source spirit"[27] at the Serpentine Galleries, and that it was her ambition "to inspire the widest audiences with the urgency of art and architecture".[2] The Financial Times noted that Peel "has been able to lure companies such as Google and Bloomberg as partners to help meet the Serpentine's annual £9.5m target".[24]
Peel and Obrist selected both the first African architect to work on a pavilion,[28] and the youngest architect to do so.[29] In 2018, she broadened the global reach of the Serpentine Pavilion programme by announcing the launch of a pavilion in Beijing designed by Sichuan practice, Jiakun Architects.[30]
Together with Lord Richard Rogers and Sir David Adjaye, Peel and Obrist selected Burkina Faso architect Diébédo Francis Kéré to design the 2017 pavilion.[31] The pavilion was awarded the Civic Trust Award in 2018.[32]
The Serpentine selected Mexican architect Frida Escobedo to design the 2018 pavilion. She will be the youngest architect to have participated in the Pavilion programme since it began in 2000.[29]
She stepped down as CEO in June 2019 as a consequence of the attention paid to her co-ownership of NSO Group, an Israeli cyberweapons company whose software has allegedly been used by authoritarian regimes to spy on dissidents.[4]
Philanthropy:
Peel co-chaired Para Site, a not-for-profit contemporary art space in Hong Kong, from 2010 to 2015.[33] She has been involved with the project since 2009.[17]
Peel founded the Victoria and Albert Museum's design fund in 2011.[9] The fund supported the acquisition of contemporary design objects.[9]
Peel is a member of NSPCC's therapeutic board.[7] Inspired by her children, in 2008 Peel produced a series of toddler-friendly art books published by Templar, including: Art For Baby, Color For Baby and Faces For Baby.[34] These books feature works by artists ranging from Damien Hirst to Keith Haring. Proceeds from the sales of the books go towards the NSPCC.[35]
Personal life:
In 1999, Peel married Stephen Peel,[36] a private equity financier.[37] They have two children and live in Bayswater, London.[37][38]
Awards and honours:
Montblanc Award for Arts Patronage 2011[39]
Debrett's 500 List: Art[40]
Evening Standard Progress 1000 2017[41]
ArtLyst Power 100[42]
Harper's Bazaar Women Of The Year 2017[27]
Harper's Bazaar Working Wardrobe: Best dressed women 2018[43]
Henry Crown Fellow. Appointed by the Aspen Institute in 2018.[44]
References:
^ a b c "McGill Reporter - Volume 28 Number 11". reporter-archive.mcgill.ca. Retrieved 19 February 2018.
^ a b c d Bailey, Sarah. "In Conversation: Art and Fashion Are Both About Desire", Red, London, 1 November 2017. Retrieved on 19 February 2018.
^ a b c d e f McElvoy, Anne. "In The Hot Seat", Porter, London, 1 December 2016.
^ a b Greenfield, Patrick (18 June 2019). "Serpentine Galleries chief resigns in spyware firm row". The Guardian. ISSN 0261-3077. Retrieved 18 June 2019 – via www.theguardian.com.
^ Sloway, Diane. "Meet Yana Peel, the Audacious Canadian Who's Transforming London's Famed Serpentine Galleries", W Magazine, 29 November 2016. Retrieved on 19 February 2018.
^ a b c d e f g h i Bourne, Henry. "L’alchimista", La Repubblica, Rome, 8 May 2017. Retrieved on 19 February 2018.
^ a b c "Serpentine Galleries Announce Appointment of Outset’s Yana Peel As CEO", ArtLys
In camera double trouble with a crop.
Classic Hawkwind track from the '73 Space Ritual LP featuring Lemmy before he was unceremoniously dropped from the line-up to form the legend that is Motorhead.
Hit L to enter space rock mode and crank up the volume to lose yourself in this 10min cerebral journey.
www.youtube.com/watch?v=KhWArBhPWu0
"I've got an Orgone Accumulator
It makes me feel greater
I'll see you sometime later
When I'm through with my Accumulator
It's no social integrator
It's a one man isolator
It's a back brain stimulator
It's a cerebral vibrator
Those energy stimulators
Turn your eyeballs into crators
But an Orgone Accumulator
Is a superman creator
It's no social integrator
It's a one man isolator
It's a back brain stimulator
It's a cerebral vibrator
I've got an Orgone Accumulator
And it makes me feel greater
I'll see you sometime later
When I'm through with my Accumulator"
Dave Brock and Robert Calvert.
The Color Purple/Violet Represents:
Inspiration: Original and sound ideas are created with violet - use it when looking for inspiration during brainstorming sessions.
Imagination: Violet inspires creativity with intellect - it is also stimulating to dream activity.
Individuality: Violet is unconventional, individual and original. It hates to copy anyone else and likes to do its own thing.
Spirituality: Violet assists us during prayer and meditation, helping us to get in touch with our deeper subconscious thoughts. Churches often feature violet in their stained glass windows. From a negative perspective it can relate to the cult follower.
Our English word “happiness” comes from the old Norse word “happ” — this is the same word from which we get our word “happen;” thus happiness is based on what happens to us. So the argument goes like this: if something good is happening, we are happy…if something bad is happening, we are sad. Though that is a fairly accurate understanding of the word “happiness,” that alone is not the only meaning of the word. The word “happy” can also be used to subjectively describe the believer’s joy (Prv 3:18; 29:18; Mt 5:3-12), which is not necessarily dependent upon what “happens” to him. Though some believers have insisted on applying “happy feelings” only to circumstances, and have objected to the use of the word “happy” when translating the beatitudes of Matt 5, that is not what Scripture teaches. Just because the derivation of the word “happy” in English has its orientation in “happ,” does not necessarily limit its usage as such, as any modern dictionary will attest. Scripture tells us that we can indeed be “happy” even in the midst of pain and suffering. Thus to insist that “spiritual joy” and “spiritual happiness” are not equivalents is to engage in meaningless contrarieties that only serve to confuse the reader. The Lord has blessed us with ability to feel & emote, and we honor Him when we appropriately exercise those emotions; it is good for believers to rejoice and be exceeding glad and happy at all times in the Lord (Lk 2:10-11; 6:23; Jn 8:56; Rom 10:15; Rev 19:7). Paul sets “rejoicing” and “being anxious” in juxtaposition to each other in order to contrast their differences (Phil 4:4, 6-7; Mt 6:25-34) — to be anxious is to be joyless. The believer can experience a deep abiding peace and joy in his life regardless of circumstances… he can experience elation that transcends his circumstances… and experience that which is highly pleasing and pleasant in the midst of difficulties and trials — all these emotions are “felt” experiences. When the believer experiences a joyful happiness, there is an absence of anxiety, tension and want in his soul; conversely, when the believer is in a “state of want,” that longing produces a disquieting unrest in his soul, so instead of being at peace and satisfied, he is anxious and restless. Happiness is one of the most misunderstood words in our vocabulary, yet we search for this intangible state our whole lives. If I only had this or that, if I met the right partner, have a big house, a new car, the job I’ve always wanted, then I would be happy. The ancient yoga and spiritual teachings stress that happiness is real only when we let go of seeking material and transient things and discover the lasting joy that is within. Every time we see a giggling baby or young child we’re reminded that we are all born with this natural and innate sense of happiness, that it is actually our birthright. We learn about suffering or unhappiness as we grow older, more externalized, and as circumstances change. We taught a workshop where a number of the participants had lost loved ones in the past years: One had lost her son to AIDS, another had lost her husband, son, and mother all within 12 months, and another’s partner had drowned. Others were dealing with specific illnesses or difficult issues in their lives. What really emerged for everyone was the awareness that their real happiness lies within themselves, that it’s not dependent on someone or something outside of them. They had lost what they had thought of as their source of happiness — a loved one or their health — and now had to look more deeply within themselves. It was a weekend of many “aha” moments!
Here are some of the ways our workshop participants discovered how to feel happy again: 1. Don’t take yourself too seriously. At times of hardship, such as loss or illness, it’s easy to lose your humor and even easier to get involved with the negative aspects of what is happening. Remembering not to take yourself too seriously brings a lightness and acceptance to the weight of circumstance around you. Don’t forget, angels can fly because they take themselves lightly! 2. Don’t identify with suffering, loss, or illness as being who you are. Many of our participants realized how they’d been identifying themselves as a cancer survivor/widow/recovering addict, or whatever it may be, but had not asked who they were without that label or identity. When you don’t identify with the negative issues, then who you really are has a chance to shine. 3. It’s OK to be you, just as you are, warts and all. You may think you’re imperfect, a mess, falling apart, hopeless, or unable to cope. But true perfection is really accepting your imperfections. It is accepting yourself, complete with all the things you like as well as the things you don’t like. In this way you’re not struggling with or rejecting yourself. Each one of is unique, a one-time offer, but we can’t know this if we are facing away from ourselves. 4. Make friends with yourself. Your relationship with yourself is the only one you have that lasts for the whole of your life, and you can be the greatest friend or the worst enemy to yourself. So it’s very important not to emotionally put down or beat yourself up. Just be kind.
5. Feel everything, whatever it may be. When you are suffering, it’s easy to want to deny or repress your feelings, as they get huge and overwhelming. But if you can really honor whatever you are feeling then it’ll bring you closer to the inner happiness beneath the suffering or grief. Acknowledging and making friends with your real feelings is the greatest gift. 6. Forgive yourself. Love yourself. Treasure yourself. These are big steps, but each one liberates the heart and sets you free. You need to forgive yourself for feeling angry, for getting upset, for all things you think you’ve done wrong. They are in the past and who you are now is not who you were then. You can take any guilt or shame by the hand, invite it in for tea, and open yourself to self-forgiveness. 7. Meditate. There is an overwhelming amount of research showing how meditation changes the circuits in the part of the brain associated with contentment and happiness and stimulates the “feel-good” factor. Meditating on love and kindness makes you much, much happier! And the only way to know this is to try it, so don’t hesitate. Can you connect with that place of inner happiness within yourself? Do leave us a comment. You can receive notice of our blogs by checking Become a Fan at the top.
www.huffingtonpost.com/ed-and-deb-shapiro/happiness-tips_...
I consider it as a great privilege to start this inspirational conference with a reflection on the Theology of Joy.
What is Joy?Let us begin by asking the question: What is Joy? After all that is the theme of this conference. Give Room for JOY. In other words, Let the Joy Grow – obviously in three
dimensions: towards God, within us and towards others.
Do we all have the same answer to this question: What is Joy?
Is it an idea, emotion, virtue, philosophy, ideal, or something else? There is no commonly agreed definition for it, yet still everyone seems to be selling happiness these days - drug dealers, pharmaceutical companies, Hollywood, Disney, toy
companies, and of course happiness-pedaling gurus.
As a quick survey I asked few of my friends this question: What is Joy? I got different answers – some very tangible and some not so tangible.A Hindu friend defined Joy as something we can sense through our five senses: sight (a
beautiful flower), hearing (a melodious music), taste (a Danish pastry), smell (a special perfume), and feeling (a feather touch).
He further added that Joy can be acquired or achieved through our spiritual discipline or efforts - citing YOGA as an example. In other words, he sees Joy as both sensual and
spiritual. Sri Krishna in a certain discourse in Bhagavad Gita says: Notions of heat and cold, pain and pleasure, are born only of the contact of the senses with their objects. They have a beginning and an end. They are not permanent in their nature. Bear them patiently. (Bhagavad Gita 2.14)
Sri Krishna further says: A person who is the same in pain and pleasure, whom these cannot disturb, he alone is able to attain immortality. (Bhagavad Gita 2.15) 2 A Muslim friend said this: Perfect happiness will only be available to us if we spend life everlasting in Paradise. It is only there that we will find total peace, tranquillity and security. It is only there that we will be free of the fear, anxiety and pain that are part of the human condition. However the guidelines provided by Islam allow us, imperfect humans, to seek happiness in this world. The key to being happy in this world and the next is seeking the pleasure of God, and worshipping Him.A young agnostic friend told me this:If you want happiness for an hour — take a nap.If you want happiness for a day — go fishing.If you want happiness for a year — inherit a fortune.If you want happiness for a lifetime — help someone else.A scholar- friend pointed out: In the fifth century, Boethius – a Roman Senator and
philosopher - could claim that "God is happiness itself". But by the middle of the 19th century, the formula was reversed to read "Happiness is God." Earthly happiness emerged
as the idol of idols, the central meaning in modern life, the source of human aspiration, thepurpose of existence. Materialism relocated God to the shopping mall.A Christian friend replied: I find Joy in Jesus.What do we make out of these responses? I felt that part of one’s joy could be lost if one gets too much into the realms of philosophy or psychology or theology of Joy. I liked that one-line response of my Christian friend: I find Joy in Jesus. This was one such moment when I profoundly thanked God for revealing true wisdom to ordinary folks.However, judging from the variety of answers I received, I felt the need to establish certain
contours of understanding, if at all possible, about what is Joy - before we go forward.Further, my survey-outcome highlighted the need for Christians to be pretty clear of what
they mean by Joy – based on what the Bible says. This is very important in a multi-religious society – to be clear of what one believes – amidst the cacophony of several philosophies,
ideologies, ideas and alternative spiritual movements.
Webster’s dictionary defines Joy as "a condition or feeling of high pleasure or delight;happiness or gladness."Other definitions which I came across include: 3 Joy is an emotion so deep and so lasting. Joy is a source or cause of keen pleasure or delight. Joy is an expression or display of glad feelings or festive gaiety. Joy is a state of extreme happiness. Is JOY different from HAPPINESS? Naturally a question then springs up in our mind: Is JOY different from HAPPINESS - two words we often use interchangeably? The answer is: Yes and No. Joy is something that lasts. Happiness is something that is temporary. Joy springs from within and is an internal experience. Happiness is caused by external circumstances or experiences. Joy brings with it a feeling of contentment and confidence which can take us through a storm in our life-journey. Happiness is not present when we are in the midst of a storm; it just vanishes. Happiness is a blurred emotion. It can mean different things to many people. Joy is a conscious commitment to be happy, to have a sense of gratitude and contentment despite life’s challenges. How does having a Positive Mental Attitude (PMA), pushed by today's motivational speakers, fit into real joy? Too many people try this kind of pop psychology with no foundation under it. It comes across as forced and artificial. A few leading televangelists preaching prosperity gospel come to my mind. To me, they all seem to project Joy as buyable/sellable commodity. Somebody once said that Joy is happiness with a much longer shelf life. But Joy is even more than that. Bible and Joy Let us now turn to the Bible and see: What the Bible says about JOY. 4 A search for the word JOY came up with 155 verses in King James Version. Another source reported that the word JOY appears 88 times in the Old Testament in 22 books; 57 times in the New Testament in 18 books. Certainly there is a lot of JOY in the Bible! There are 15 different Hebrew words and 8 Greek words to describe JOY - both as a noun and as a verb. This shows that Joy constitutes something that is tangible or concrete as well as intangible or abstract. In Hebrew - the original language of the Old Testament - several words for Joy, each with different shades of meaning, appear. Similar is the case in Greek – the original language of the New Testament. In both the Old and New Testaments, the words translated as "Joy" mean much the same as the English word: gladness, cheerfulness, calm delight. In the Old Testament Joy refers to a wide range of human experiences—from erotic love (Song of Solomon 1:4), to marriage (Proverbs 5:18), birth of children (Psalm113:9), gathering of the harvest, military victory (Isaiah 9:3), and drinking wine (Psalm 104:15). The Psalms express the joyous mood of believers as they encounter God. (Psalm 32:11 “Be glad in the Lord, and rejoice, O righteous, and shout for joy, all you upright in heart.”). Joy is a response to God's word (Psalm 119:14 “In the way of thy testimonies I delight as much as in all riches.”) In fact, Joy characterizes Israel's corporate worship life (Deuteronomy; 2 Chronicles 30:21a: “And the people of Israel that were present at Jerusalem kept the feast of unleavened bread seven days with great gladness.”). How joyous our corporate worship is? Basic to the Old Testament understanding of Joy are God's Acts in history. Two such Acts are: Israel's deliverance from Egypt (Exodus 18:9-11) and Israel's return from the Babylonian exile (Jeremiah 31:1-19) to Jerusalem. In the Old Testament spiritual joys are expressed by the metaphors of feasting, marriage, victory in military endeavors, and successful financial undertakings. For example, the joy of the harvest is used to describe the believer's final victory over his adversaries (Psalm 126:5-6 5 “May those who sow in tears reap with shouts of Joy! He that goes forth weeping bearing the seed for sowing shall come home with shouts of Joy bringing his sheaves with him.”) We can hear the echoes of such metaphors in the Danish Hymns contained in Den Danske Salme Bog. In the New Testament Jesus himself joins the Joy of mundane events of daily life – for example the marriage at Cana. Do we picture a happy, laughing Jesus in our thoughts or reflections? Joy is associated with the nativity scene of the angels’ song (Luke 2:10 “For behold, I bring you good news of a great joy which will come to all the people”). The Magi, upon finding the infant Jesus, are overjoyed (Matthew 2:10). The birth of John the Baptist as the forerunner of the Messiah is an occasion of joy for his father and others (Luke 1:14 “And you will have joy and gladness.”). Luke's Gospel-narration is concluded with the disciples returning with great Joy from Bethany after Jesus' ascension. (Luke 24:52 “And they returned to Jerusalem with great joy.”) Heaven and Angels too rejoice in the New Testament at an unbeliever's conversion. Luke places three parables together in which God, in two instances with the angels, rejoices at the redemption - upon finding the lost sheep, the shepherd rejoices (Luke 15:3-7); the woman rejoices upon finding the lost coin (Luke 15:8-10) . The prodigal son's return brings rejoicing (Luke 15:11-32). Interestingly there is a subtle change in the usage of the word Joy from Acts 13 onwards. It gets tied with trials, suffering, persecution and the like. Why?I believe that a change had begun to take place in the church about this time. The first 20 years had passed, and now the apostles were dealing with a more mature body of believers – struggling with the application of Gospel teachings. The believers had started facing stark opposition and challenges – theological, political, economic and what not! But for these believers, trials and persecution are occasions for Joy (James 1:2 “Count it all joy, my brethren, when you meet various trials.”). Suffering brings Joy as believers are united with Christ in his suffering (1 Peter 4:13-14) Paul speaks of his Joy in the midst of affliction (2 Corinthians 7:4-16 “With all our affliction, I am overjoyed.”) 6 Joy becomes part of the faith (Philippians 1:25). God's kingdom is described as: righteousness, peace and Joy (Romans 14:17). Certainty of salvation is a cause for Joy, as the disciples are commanded to "rejoice that your names are written in heaven" (Luke 10:20). Surely the meaning of Joy takes in new dimensions and shades. Also, about this time, Apostle Paul emerges as the dominant figure. Paul mentions Joy as the second fruit of the Holy Spirit in his letter to the Galatians, along with eight other fruits. Galatians 5:22: (“But the fruit of the Spirit is love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, self- control.”) Joy is not something to be pursued; it is rather a result of the Christian life - a product. The church was coming increasingly under fire, and Christians were struggling to grow. We can suppose that Paul began to see and teach Joy in a different light – Joy as a character trait- tempered by fire! Christian Joy often comes tied with challenges and trials. What we have been witnessing in the Middle East and in some other parts of the world in recent times is a stark reminder to this fact. How do those brothers and sisters continue to sing and worship the Lord without losing their Faith and Joy? It clearly shows that Joy in Christian theology is different from superficial, external happiness. Let me narrate a particular case - where the involved persons have literally challenged my own concept of Joy through their life-example. Peter says: “Beloved, do not be surprised at the fiery ordeal which comes upon you to prove you, as though something strange were happening to you. But rejoice in so far as you share Christ's sufferings, that you may also rejoice and be glad when his glory is revealed.” (I Peter4:12-13) Count your trials as joy. James 1:2-3 says, "Knowing that the testing of your faith [through trials] produces patience." God's testing process has the goal or aim of purging us of all impurity, to make us "perfect and complete, lacking nothing" (verse 4). The word Gospel literally means good news. Jesus encouraged us to think of the future as a time of Joy, so that it sustains us now when times are difficult. 7 I see three categories or groups of people gathered here today: those who are natural citizens of Denmark - born and brought up here; those who came to Denmark of their own choice; and those who came here due to circumstances beyond their control. All of us however enjoy the Joy of Christ because of this particular theology: Trials and tribulations are integral part of Christian life! It is part of our Faith. It is part of our DNA. Christian joy is not the seeking of pleasure: quite the opposite. It is a curious paradox of life that the more we seek to be happy the more miserable we become. A famous writer (Eric Hoffer) once said: “The search for happiness is one of the chief sources of unhappiness.” Joy is God’s gift. It is not something to be pursued. As mentioned earlier, Jesus said to his followers: “Rejoice that your names are written in heaven." (Luke 10:20) Joy is about getting this into perspective, not how wide our grin is! The Christian has the promise of Jesus that the best is yet to come. We can be joyful in spite of circumstances. As we read the Bible, we will find this theme again and again. Christian Joy exists in spite of circumstances. Christians should be able to display their inner JOY at all three Houses of Worship: Church, Home and Work-Station.Let us encourage each other to be truly Joyful – driven by our Faith, Hope, Love, Contentment and Gratitude – in spite of circumstances. The five pillars of Joy! We are familiar with the first three pillars coming from what Apostle Paul wrote in 1 Corinthians 13:13, “So faith, hope and love abide.” Regarding the fourth pillar contentment, not everyone is truly content with his or her life. Often we are unsatisfied and seek more for what we don't have and who we are. Through scripture however, we are commanded to be content with all we have in life. As we practice the discipline of gratitude instead of complaining, grumbling, or forgetting God's goodness, we will experience His peace, be filled with His joy, and grow in faith and hope. All these five pillars - Faith, Hope, Love, Contentment and Gratitude – are borne out of God’s grace, and even though we don’t deserve. They are the five gifts of grace.I would encourage you to look at JOY as a fruit - made up of five tastes or colors: Faith,Hope, Love, Contentment and Gratitude 8 Let me now read out two scripture portions for you – one from the OT and the other from the NT – as part of this inspirational talk. Habakkuk 3:17-19. (Explain background.) “Though the fig tree does not bud and there are no grapes on the vines, though the olive crop fails and the fields produce no food, though there are no sheep in the pen and no cattle in the stalls, yet I will rejoice in the LORD, I will be joyful in God my Savior. The Sovereign LORD is my strength; he makes my feet like the feet of a deer, he enables me to go on the heights.”Here is what St. Paul says in 2 Corinthians 6:4 -10 (Explain background). “Rather, as servants of God we commend ourselves in every way: in great endurance; in troubles, hardships and distresses; in beatings, imprisonments and riots; in hard work, sleepless nights and hunger; in purity, understanding, patience and kindness; in the Holy Spirit and in sincere love; in truthful speech and in the power of God; with weapons of righteousness in the right hand and in the left; through glory and dishonor, bad report and good report; genuine, yet regarded as impostors; known, yet regarded as unknown; dying, and yet we live on; beaten, and yet not killed; sorrowful, yet always rejoicing; poor, yet making many rich; having nothing, and yet possessing everything”. Do these two scripture-portions resonate in any manner with our own life-journeys? If yes, REJOICE. Because in these two verses I see the gist of Christian Theology of Joy – a theology that encompasses Faith, Hope, Love, Gratitude and Contentment.When we have the Joy of the Lord, we will know it and so will others. In addition to being joyful, we should let others have their Joy. Christian Joy is contagious. Do we see some role-models - at our homes, communities, cities and villages My wife and I have met quite a few JOYFUL Christians here in Denmark. They have truly inspired us. Where Joy cannot be found? Men have pursued joy in every avenue imaginable. Some have successfully found it while others have not. Perhaps it would be easier to describe where joy cannot be found:Not in Unbelief -- Voltaire was a non-believer of the most pronounced type. He wrote: "Iwish I had never been born."Not in Pleasure -- Lord Byron lived a life of pleasure if anyone did. He wrote: "The worm, the canker, and grief are mine alone." 9 Not in Money -- Jay Gould, the American millionaire, had plenty of that. When dying, he said: "I suppose I am the most miserable man on earth." Not in Position and Fame -- Lord Beaconsfield enjoyed more than his share of both. He wrote: "Youth is a mistake; manhood a struggle; old age a regret."
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Introduction — The pursuit of happiness has probably reached its peak in our twentieth century world. Americans don’t stand alone in this pursuit, because it is an innate drive found in every man’s nature. Everyone wants to be happy and seeks it in varying ways and with varying degrees of intensity. Some seek it through pleasure, others through enter-tainment, possessions, work, position, education, and success; still others seek it in athletic endeavors, hobbies, travel, fashion, physical beauty, wealth, status, bigger homes, boats, planes, and vacation homes, as well as alcohol, food and drugs. King Solomon conducted a series of experiments in a quest to get the most and best out of life — his experiments not only included most of those things listed above, but also laughter, the finest wines, wisdom, and building projects that were the envy of the world… he built houses for himself, planted vineyard and gardens, built waterpools, acquired male and female servants, male and female singers and musicians, herds and flocks that were unparalleled, silver and gold and valuable treasures… said Solomon, “I became great and excelled more than all who were before me in Jerusalem… whatever my eyes desired I did not keep from them… I did not withhold my heart from any pleasure…. Then I looked on all the works that my hands had done… and found it to be nothing but vanity and a striving after wind” (Ecc 2:1-12). Therefore, said Solomon, “I completely despaired of all the labor in which I had toiled under the sun… it was all vanity” (Ecc 2:20-25). Solomon admitted that his quest rewarded him with a degree of joy, yet he still found that it did not satisfy him. Most people think they would have had an endless amount of joy were they as blessed as Solomon was… but Solomon concluded that it is God who determines whether or not we experience joy (Ecc 2:26). The experiences of men the world over tell us that no matter how secure and wonderful their sources of joy may be, human joy does not last long.
On the other hand, when we follow God’s prescription, He feeds us in such a way that we experience real joy and satisfaction. God makes it very clear in Scripture that real joy lies in the quality of our relationship with Him; therefore, can we actually be so foolish so as to think that we can somehow produce it ourselves? One thing is certain: dwelling on ourselves and our wants will never produce true joy — rather than being obsessed with ourselves we must become obsessed with Christ; if we do, we will immerse ourselves in His Word, and seek to know Him more intimately “and our joy will be made full” (Jn 15:1-11). It is only through God’s Spirit that we can experience true joy (Ps 15:11-12; Gal 5:22; 1 Th 1:6); it cannot be accomplished apart from God (2 Cor 12:10; 13:4). The harder we try to be joyful through our own efforts, the more miserable we will become. Rest in the Lord’s arms (Mt 11:28-30) and seek His face through prayer and Scripture. Writes the apostle Paul: “May the God of hope fill you with all joy and peace as you trust in Him, so that you may overflow with hope by the power of the Holy Spirit” (Rom 15:13).
The psalmist David wrote these encouraging words: “Thou will make known to me the path of life; in Thy presence is fulness of joy; in Thy right hand there are pleasures forever” (Ps 16:11). The Bible is clear that the only place we can find true joy is in God’s presence. Faith is a necessary requisite for experiencing joy and pleasing God (Heb 11:6; Jam1:2-4), and without joy we don’t have the faith to conquer the problems we face in life. The night before Jesus went to the cross He taught His disciples how important it was for them to “abide in Him;” that only when they were experiencing “intimacy with Him” would they be able to bear fruit — “apart from Me you can do nothing.” He went on to tell them that He had spoken these things to them“that His joy might be in them, and that their joy might be made full” (Jn 15:11). Writes David, “Taste and see that the Lord is good; how blessed is the man who takes refuge in Him. For to those who fear Him, there is no want” (Ps 34:8-9). When we lack joy, the heart is discontented, anxious, and unhappy… so a lack of joy leads to a lack of peace; and obviously where there is no peace, there is no joy.There is nothing like knowing that our joy remains full even when we have been rendered empty of all that we had thought we needed to sustain our happiness. Sadly, it is true that most Christians fail to experience joy when times become difficult — generally they get so caught up in the issues of life that they forget to “rejoice in the Lord,” or they question how it is even possible when life gets so discouraging, depressing and frustrating. To experience the secret of joy one must carefully reflect on the path of joy as it is outlined in Scripture. Twice in Philippians 4:4 Paul gives this command: “Rejoice in the Lord always; again, I say rejoice.” Just because God’s Spirit dwells within us does not mean that we will necessarily experience joy— we must make a choice to let Christ be our joy. When we falter in our faith, we try to manufacture our own joy, and that is simply not possible, because God is its author. Only when we find our happiness in the person of Christ can we experience true joy. Jesus said to His disciples, “These things I have spoken to you so that My joy may be in you, and that your joy may be made full” (Jn 15:11). Here Jesus reminds us that we will not have fullness of joy unless we abide in Him, and that involves keeping His commands and putting our full trust and confi-dence in Him. Obedience to God is central to experiencing the joy of God — if we do not follow His will and live according to His Word, we will not experience joy. The darkest times of life for most believers are times of disobedience because there is a lack of joy in their lives even in the midst of positive circumstances. The most joyful times in life can actually be when we triumph in faith during the most difficult and oppressive times. If we want to experience the “supernatural joy life,” then we must walk in obedience, resting in God all the while. When we put our confidence in God and choose to have His joy, we will experience that unspeakably wonderful “gift of the Spirit” – JOY. His joy can be experienced at this very moment in your life – regardless of circumstances – if you will walk in faith and obedience (again, more on that later).
It was the prophet Nehemiah who said, “The joy of the Lord is your strength” (Neh 8:10). To appre-ciate what this means we must understand the context in which these words were stated. The Israelites had just returned from Babylon after having spent seventy years in exile… under the leadership of Ezra and Nehemiah the Jewish people rebuilt Jerusalem’s ruined walls, and now they set their sights on re-establishing the temple and restoring the nation. Though they were no longer being held captive in Babylon, “they were still slaves to those who were governing the land God had given to them” (Neh 9:36). The Jewish remnant who returned to Jerusalem from Babylon, in large part were ignorant of their spirit-ual heritage due to their captivity; furthermore they had forgotten their native language; and above all, they had lived in sin and had forgotten God. Nehemiah called a “special meeting” in the middle of the city — altogether about 50,000 people attended. Ezra the priest was asked to read the book of the Law of Moses to the assembly — he read it aloud from daybreak until noon, and the Word of God spoke in a profound way to the hearts of the people, and for the first time they were made aware of their sinful-ness before God. The people learned that Jeremiah had prophesied the very destruction that they had suffered, yet in the same breath Jeremiah gave them a promise that their mourning would turn to a morning of joy — God would bring them back to their land seventy years later. Ezra read, “Behold,” says the Lord, “I will gather My people from the remote parts of the earth… a great company shall return here… they shall come with weeping, and with supplications will I lead them… for I am a father to Israel” (Jer 31:8-9). The people experienced the relevancy of the message — they were made aware of the connection between the sins of their own hearts and their distressful situation, and they saw that their slavery was the result of their own sin. As they stood there mourning over their sins, they understood the message of salvation… it was not a message of “I told you so” or “you should have known better” or “look what a mess you have made of your lives”… instead they are told to “Go and enjoy choice food and drinks, for this day is sacred to the Lord. Do not grieve, for the joy of the Lord is your strength!” “Then all the people went away to eat and drink and celebrate with great joy, because they now under-stood the words that had been made known to them” (Neh 8:9-12). This day was sacred to the Lord — it was the joy of the Lord that made this such a sacred day… God had deliberately led them to this moment in time… it wasn’t a day of good fortune or good luck… it was the joyful day of the Lord! The people were told “not to grieve” — “God’s anger is but for a moment; whereas His favor lasts a life-time” (Ps 30:4-5). When the Word of God was opened and read to them, the people began to understand themselves and the need to change their minds about the way they were living. And like them, if we listen, it will also bring us to a “mourning of joy.” When we set our hearts to obey God’sWord, the Lord Himself causes us to rejoice — “God had made them rejoice with great joy” (Neh 12:43). On the eighth day according to the Law there was an assembly of all the people… they gathered together for a great day of national confession… with fasting and mourning, they listened to the reading of the Law for three hours… and then for three more hours they confessed their sins and those of their fathers and worshipped the LORD their God (Neh 9:1-3). The people responded to the reading of the Law thus: “Because of our sins… we are in great distress” (Neh 9:37). Their confession was accompanied by great remorse… they understood their terrible condition as they journeyed back to God… but more importantly, they understood God’s joyous message of salvation, and at that they burst out in praise! Then said Nehemiah to the people, “This day is holy to the Lord your God… do not mourn or weep… rather, go eat and drink…. DO NOT GRIEVE, FOR THE JOY OF THE LORD IS YOUR STRENGTH!” (Neh 8:9-10). NOTE CAREFULLY it is “the Lord’s joy” that is our strength… it “the Lord’s joy” that gives us reason to rejoice… it is “the Lord’s joy” that fills us with hope. It is God's happiness that is our strength!!! It is not anything that we have done that is our hope, joy or strength! Furthermore, it is not God’s anger, wrath or holiness that is our strength! IT IS “GOD’S JOY” THAT IS OUR STRENGTH!! NOT OUR JOY!! GOD’S JOY!! IT IS THE “LORD’S JOYOUS WISH” TO SAVE US FROM OUR SINS — AND THAT IS OUR STRENGTH and ENERGY and VITALITY! It is GOD’S JOY to stand us back up on our feet and strengthen our feeble legs & wobbly knees so that we might discover that HIS JOY IS OUR STRENGTH! It is the “joy of the Lord” that remains our strength today! REMEMBER, IT IS “GOD’S JOY” TO SAVE YOU!!! His faithfulness continues throughout all generations! Our response should be to commit our lives to Him for joyfully wanting to save us! It is incredible to realize that no matter how bad things get for us, GOD’S JOY will forever be our hope and strength! James clearly has victory over trials in mind, not mere acceptance of one’s trials. It is “joy” that gives us the strength to fight and overcome our trials. Joy gives us the strength to “fight the good fight of faith” (1 Tim 6:12). Spiritual joy has a way of infusing strength into our being! If you are tired of fighting the battle it is because your problems seem too much for you — you have lost your joy, and have rightly concluded that the fight is too great for you. Paul said, “Rejoice in the Lord always!” (Phil 4:4). You are to always rejoice in the Lord — you can’t live off of the joy you had yesterday or last week — that joy will not give you strength today. Joy can only give you strength in the moment… it can only give you strength when you possess it. The time to rejoice is always “now” — if you don’t rejoice, you will lose the strength to fight. I love this verse in Habakkak — “Though the fig tree does not bud and there are no grapes on the vines, though the olive crops fail and the fields produce no food, though there are no sheep in the pen and no cattle in the stalls, YET I WILL REJOICE IN THE LORD; I will be joyful in God my Savior” (Hab 3:17-18). He is going to REJOICE because “the God of his salvation is his strength; He makes his feet like the feet of a deer, and enables him to walk on high places” (Hab 3:19). Habakkuk had no intention of staying defeated. The difference between the person who is defeated and the person who is victorious is his attitude toward God. An attitude of gratitude is what made the difference in the prophet’s life. Even though nothing good was happening in his life – no fruit, no crops, no sheep, no cattle – yet he rejoiced! Though our lives are filled with trials, we are also to rejoice! Regardless of our circumstances, we can rejoice! Reflect upon the words of the prophetic Isaiah: “Behold, God is my salvation, I will trust and not be afraid; for the Lord God is my strength and song, and He has become my salvation. Therefore I will joyously draw water from the springs of salvation” (Is 12:2-3). Notice what this Scripture says: “with joy you will draw water from the springs of salvation.” It is joy that keeps you strong and enables you to draw from the springs of salvation. Our English word “happiness” comes from the old Norse word “happ” — this is the same word from which we get our word “happen;” thus happiness is based on what happens to us. So the argument goes like this: if something good is happening, we are happy…if something bad is happening, we are sad. Though that is a fairly accurate understanding of the word “happiness,” that alone is not the only meaning of the word. The word “happy” can also be used to subjectively describe the believer’s joy (Prv 3:18; 29:18; Mt 5:3-12), which is not necessarily dependent upon what “happens” to him. Though some believers have insisted on applying “happy feelings” only to circumstances, and have objected to the use of the word “happy” when translating the beatitudes of Matt 5, that is not what Scripture teaches. Just because the derivation of the word “happy” in English has its orientation in “happ,” does not necessarily limit its usage as such, as any modern dictionary will attest. Scripture tells us that we can indeed be “happy” even in the midst of pain and suffering. Thus to insist that “spiritual joy” and “spiritual happiness” are not equivalents is to engage in meaningless contrarieties that only serve to confuse the reader. — to be anxious is to be joyless. The believer can experience a deep abiding peace and joy in his life regardless of circumstances… he can experience elation that transcends his circumstances… and experience that which is highly pleasing and pleasant in the midst of difficulties and trials — all these emotions are “felt” experiences. When the believer experiences a joyful happiness, there is an absence of anxiety, tension and want in his soul; conversely, when the believer is in a “state of want,” that longing produces a disquieting unrest in his soul, so instead of being at peace and satisfied, he is anxious and restless.
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(Former) English, Scottish & Australian Bank:
Historical evidence indicates that this building was constructed around 1882 for Philip Bolger, a grocer, who acquired the land from James Gibbon in that year. Bolger borrowed £3,000 from Gibbon in the same year he bought the land – possibly to finance construction of this two storey masonry building. The building was constructed during a period of growth and economic confidence which stimulated the expansion of Fortitude Valley.
Fortitude Valley was established during the 1850s, spurred by Lang’s Scottish Presbyterian immigrants who were denied land grants by the colonial government. Schools and churches were established during the 1860s with the census of 1861 reporting a population in the district of over 1300. The 1880s was a time of great commercial and residential growth in the Fortitude Valley area as both the population and the economy boomed. The imposing new Holy Trinity Catholic Church replaced the existing one in 1882 and large ornate hotels such as the Empire, the Prince Consort and the Wickham were constructed to cater to the rapidly growing population. New commercial premises were also erected to take advantage of the economic prosperity.
Early photographs show that Bolger’s building was originally more ornate, in keeping with the flamboyant style favoured in the 1880s. It had two triangular pediments, the bases of which are still evident today.
Bolger occupied the building until the 1890s when it was taken over by Jason Yetting and Son, Tea Importers. During the later half of the 1890s the building was used as a boot warehouse then from 1901 until 1920 by Albert Goodall, a bootmaker. Another boot manufacturer, John Charity, gained title to the property in 1920 and he ran his business from these premises until 1926.
In 1927 the building was converted to a bank after the English, Scottish and Australian Bank gained title in that year. This is likely to have been the period in which the alterations to the building’s external features took place. Like the 1880s, the 1920s were a time of economic confidence, particularly in the Valley which now rivalled the CBD as a major shopping precinct.
The English Scottish and Australian Chartered Bank was incorporated in the United Kindgom in 1852. On 21 August 1893 the English Scottish and Australian Bank Limited was established in Australia, based in Melbourne. It went on to have 104 branches spread throughout Victoria, New South Wales, South Australia and Queensland.
In the 1920s, the bank expanded, acquiring the London Bank of Australia, the Commercial Bank of Tasmania and the Royal Bank of Australia. This boom ended with the 1930s depression. Wartime controls limited the bank’s revival and the 1950s witnessed a period of turbulent growth. On 10 December 1968 the English Scottish and Australian Bank merged with ANZ.
The building at 100 Wickham Street was sold to Lanart Pty Ltd in 1973 and changed hands again in 1983. From the 1990s to the present, the building has been occupied by “Monty”, a second hand dealer and pawnbroker.
Muller Brothers Building:
Until the mid-1880s, Wickham Street was a quiet and sparsely populated street. Although the section between Duncan and Brunswick Streets hosted the Roman Catholic chapel from the late 1850s and the Prince Consort hotel from the early 1860s, Anne Street (as it was then spelled) was the main commercial district of Fortitude Valley. The Valley itself was a quiet and sparsely populated town until the 1880s, when an economic boom encouraged the construction of brick and stone buildings, replacing wooden ones. Residents of the Valley also began demanding better services, including improved transport, roads and sewage systems. The boom also assisted the development of Wickham Street, which became an increasingly important retail area from the 1880s.
Phillip Bolger obtained title to the site in April 1882, with the help of a £3,000 mortgage, and ran an oyster saloon on the site. The property was sold in 1885, firstly to Benjamin Waylett in May and then to John Watson in July. The site was located between stores run by drapers Quinn and Moylan and the former Roman Catholic Chapel.
The building was constructed for John Watson in 1886. Watson was a renowned figure in nineteenth century Brisbane, a Scottish immigrant whose varied career included roles as contractor, former lessee of the Bulimba Hotel and ferry and postmaster of the Breakfast Creek area. In the 1880s he began his first forays into his career as politician, elected to the Bulimba Divisional Board. He had become its chairman in 1885, when a financial scandal erupted and caused the resignation of all board members. Watson disclaimed knowledge of the problem (defrauding the Treasury) and was reinstated to the Board. In 1886 he was a member of the Booroodabin Divisional Board and stood for election for the seat of Fortitude Valley, which had been vacated after the sudden death of Francis Beattie.
Tenders were called in March for the construction of two two-storey brick stops for J. Watson, Esquire, by renowned and flamboyant architect Andrea Stombuco, who was also the Catholic Diocesan architect. Stombuco, like Watson, attracted a great deal of notice in nineteenth century Brisbane society, infamous for his fiery temper and his manner of dressing. He was also responsible for the design of several heritage listed buildings, including St Patrick’s Church in the Valley (1882) [600210]; St Francis Xavier Church, Goodna (1881) [600553]; Heckelmann’s Building, Brisbane (1884) [600104]; and a residence, Bertholme (1883) [600263]. Stombuco began practising with son Giovanni in 1886 (Watson’s building being one of its first commissions) and the partnership was responsible for the design of, inter alia, St Joseph’s Catholic Church at Kangaroo Point and St Joseph’s Christian Brothers’ College at Nudgee, before Andrea Stombuco left Brisbane for Perth and Giovanni Stombuco retired.
Watson’s choice of Stombuco to design his new building may have been influenced by his long connection with the architect. In his work as a contractor, Watson had worked with Stombuco on Benjamin Bros’ new warehouse (1884) and ‘Palma Rosa’, Stombuco’s residence (1887) [600219]. He was in attendance at the opening of the latter building in 1887, along with a number of other prominent contractors. Watson had also erected the new belfry for the new St Patrick’s church in 1886, a building which Stombuco had designed. Stombuco had also designed the Brunswick Street drapery of Watson’s father-in-law, John Gillies, in 1880.
The construction of Watson’s new building was preceded by excavation work, carried out by Cornelius Ryan. The presence of porphyry under the site necessitated blasting operations, which were commenced in early April. On 16 April a passer-by, Felix Henry, was killed by a large stone (estimated as weighing between 5-7lb) loosened by a blast. Watson’s name was not mentioned in newspaper reports of the blast, and Watson was not reluctant to mention in May that he was undertaking the construction of two new shops which would cost £3,000 and would help beautify Wickham Street. Despite this dedication to his ward, he lost the election by 26 votes. He later won the seat and represented the Valley in 1888.
The shops were finished and leased to tenants from around 1887. Watson’s father-in-law, Gillies, managed the lease of the building, known as ‘Watson’s buildings’. Although it was a single building, it contained two shops which were considered to be separate ‘buildings’. Each building contained six rooms, including a shop and dwelling and was described as being in the best part of Wickham Street, located next to drapers Quinn and Moylan and the former Catholic chapel. The building could also be accessed by a small laneway running behind the property, which backed onto the Valley rail line, under construction at the time Watson’s building was completed. Watson had been a member of the Valley Railway Committee and an active participant at meetings in the 1880s calling for a railway to be extended to the Valley. Although Watson had favoured a line through Petrie’s Bite and not through Watson’s properties, as the line eventually ran, he continued to support the railway and encourage the extension of the line to Bulimba, or at least to the Bulimba reach of the river. John McMaster, a fellow politician, later credited Watson with being instrumental in the development of the Valley railway.
From the 1890s, the building hosted a succession of Chinese merchant businesses. The presence of Chinese merchants in the Valley was not uncommon; the first Chinese shops had opened in the 1880s, located mainly along Wickham Street, and Chinese market gardeners worked on the edge of the Valley. However, the occupation of Watson’s buildings by Chinese merchants was somewhat unusual, as John Watson was the leader of the Valley branch of the Anti-Chinese League and had stirred up anti-Chinese sentiment in the months leading up to the 1888 elections. The first round of elections had culminated in an anti-Chinese riot on 5 May, in which a large group had run through the city and Valley damaging the shops of Chinese merchants. Watson, who had campaigned on a stance of removing the Chinese from the country, was elected to the seat of Fortitude Valley by a considerable margin a week after the riots. Police were positioned in front of every Chinese shop in the Valley on the evening of the election, discouraging any further damage from the ‘larrikin classes’. The Chinese Immigration Restriction Act 1888 was passed later in the year. Nevertheless, tea importer James Yeteng and merchants Wo Yick Chong and See War and Company ran their businesses in succession from one of the shops for ten years, from 1892-1902.
Watson’s building was occupied by small drapery businesses and Muller Brothers, importers, from 1902. The Muller brothers (Max and Emil) resided upstairs at number 194. A 1913 photograph of Wickham Street shows Watson’s buildings, Maher’s building and the Prince Consort Hotel.
Following the death of John Watson in 1912, the property and the McGeehin building next door were placed in trust. The remarriage of Watson’s wife Christina left her unable to inherit and the five remaining beneficiaries, Watson’s children, intended to divide the properties so that each owned one of the shops on Wickham Street. The new Undue Subdivision of Land Prevention Act 1923 passed by the City Council intended to restrict subdivisions to properties with over 20 foot frontages, but the Watson beneficiaries successfully appealed the Council’s decision in 1924. The Muller Brothers building was passed to Charles Ferrier Watson, who inherited shop 194, on 6.98 perches of land and George Alexander Hilliary Watson, who received shop 196 on 7.43 perches. The properties also carried charges in favour of Mary Murray (another of Watson’s children, who had not inherited a property) and Christina Scott, Watson’s widow.
The Watson brothers leased the properties separately, although to similar tenants who ran tailoring or drapery businesses, and from the 1940s cafes and saloons, which had become increasingly popular in the Valley. Both properties were sold in the late 1940s and alterations were made to the shop-front of 194 in 1950 (owned by M. Andronicos, 1948-1967) and 1956 (leased by G.F. Price); and to the shop-front of 196 in 1952 (owned by D. Mee Sing), to the café in 1953 (owned by Leonard Young) and to the awning in 1965 (owned by Joe Kong).
The shops continue to be owned separately and run as commercial properties (restaurants and cafes).
(Former) McGeehin & Co Building:
The McGeehin & Co building is located on the original site of the Fortitude Valley Roman Catholic Church and School, built in the late 1850s. The Valley had been settled by European immigrants in the late 1840s and the street, named Wickham after magistrate and surveyor Captain Wickham, was in existence as early as 1855, although it was only a dirt track which meandered through a series of private properties and terminated in a swamp. Churches and hotels appeared early in the development of the Valley, and along with small dwellings, the first buildings on Wickham Street included the Catholic Church and the adjacent Prince Consort Hotel, established around 1862. The church, a small wooden building with an attached schoolhouse, was the second Catholic Church and one of only fourteen churches in the Moreton Bay settlement by 1859. The population of Fortitude Valley increased over the ensuing two decades and although it was merely a small town in comparison with the central business district, the Catholic congregation outgrew the Wickham Street building. A new Cathedral designed by diocesan architect Andrea Stombuco was constructed in Morgan Street, near Ann Street. The new building was consecrated in December 1882 and the congregation removed there, while the school was continued by the Sisters of Mercy until 1887, when it moved from the ‘dilapidated buildings’ on busy Wickham Street to a new school house in Ivory Street. The new building, St Patrick’s Roman Catholic Church, is listed on the Queensland Heritage Register [600210]. The old church remained hidden but intact on the Wickham Street site until 1911, when work undertaken for the construction of new premises revealed the old wooden chapel.
With a large new church nearly ready for its parishioners, the Wickham Street land was offered for sale in September 1881. It passed through the hands of the church’s clergy before the property of one rood and 21 perches was sold to contract builder and politician John Watson in 1889.
Scottish-born Watson was a well-known figure in nineteenth and early twentieth century Brisbane. He had arrived in Queensland with his wife Eliza in 1864 and settled near the river on what is now Oxford St in Bulimba. By 1866 he had acquired a license for the Bulimba Ferry Hotel (later the Bulimba Hotel) and was the lessee of the Bulimba ferry. He was a man of many trades, having worked in the shipping and building industries, constructed the Victoria Bridge (1888-9) and several wharves and jetties around Brisbane, provided postal services for Breakfast Creek and Bulimba and served in various political functions, including chairman of the Balmoral and Bulimba Boards and a Member of the Legislative Assembly for the Valley Ward. Watson was politically conservative and a protectionist, claiming at a political meeting that he always bought from the Valley. On the other hand, he was not one to shy away from controversy and publicity: he was the head of the Anti-Chinese League, had been chairman of the Balmoral Board when it was involved in financial scandals, drove the Bulimba steam punt into the oncoming ship Wyandra, and was duped out of £100 on a trip to London in 1909. He also felt strongly that the Brisbane River should be kept clean, protesting the dumping of sewage into the river. Watson was married three times and died in 1912 at his Bulimba residence.
Watson’s connections with the Valley were significant. As its representative from 1888-1896, he was credited with having been instrumental in bringing the railway to the Valley. Watson had been vocal about the location of tramlines in the Valley and was among the deputation of ratepayers who approached the Mayor in 1903 about the possibility of commencing markets in the Valley. As a contractor he had constructed the belfry for the new Valley Catholic Church in 1886. He purchased multiple properties along Wickham Street from 1882 and in 1886 commissioned Andrea Stombuco to design two two-storey brick shops on the premises, now the heritage listed as Muller Brothers’ Buildings. Watson’s second wife Elizabeth Gillies was the daughter of a Brunswick Street draper and his father-in-law, John, managed the lease of the Wickham Street properties throughout the 1880s and 1890s.
The exact date of the construction of this building is unknown, although it was almost certainly between 1898, when the property was classified as vacant land, and 1905, when the Brisbane Courier provided a history of the old Wickham Street church and added that:
[t]he land in question is no longer devoted to religious purposes, for the hand of commerce had been laid upon it, and it is now occupied by business premises owned by Mr John Watson.
The buildings were probably constructed around 1902, coinciding with a flux of development on Wickham Street. Transportation to the Valley had swept away the isolation of the township, and the Valley had emerged as a prime shopping and industrial destination. Investors began to take advantage of the circumstances, with those lucky enough to own land in the street constructing newer, larger buildings on their sites to attract tenants and customers. In addition, many of the timber buildings that had survived the development boom of the 1880s were demolished in the 1900s and replaced by more substantial masonry buildings, as required for a First Class building area.
From 1902, the building was occupied by grocers McGeehin & Co and an oyster saloon. McGeehin was later joined by Tolman, who lived in the residential portion upstairs. The buildings, described after a fire in 1910 (which damaged only goods within the shop), were three two-storey shops with residential quarters upstairs, similar to the Muller Brothers building. It remained a grocery store and oyster bar well into the 1920s. A photograph of this building taken in 1913 from the McWhirters building, looking down Wickham Street, shows the distinctive facades of Watson’s buildings.
Following the death of John Watson in 1912, the property and the Muller building next door were placed in trust. The remarriage of Watson’s wife Christina prevented her from inheriting, so the five remaining beneficiaries intended to divide the properties so that each owned one of the shops on Wickham Street. The Council was reluctant to subdivide properties which were so small (each had a frontage to Wickham Street of less than twenty feet), but Watson’s beneficiaries successfully appealed the Council’s decision and the properties were subdivided in 1924. Joseph Gillies Watson inherited shop 202, Isabella Margaret Dobson (nee Watson) shop 200 and William Francis Watson inherited shop 198, each parcel comprising around 8 perches of land. The properties also carried charges in favour of Mary Murray (another of Watson’s children, who had not inherited a property) and Christina Scott, Watson’s widow.
Each new owner continued to lease the properties, particularly as cafes, restaurants and wine saloons, which became popular in the Valley in the 1930s and 1940s. The shop in the centre (200) was run as a wine saloon for close to forty years (c.1915–c.1954). Alterations to the shops fronts and awnings were undertaken in the 1950s and 1960s, as well as interior changes such as a toilet block added in 1955. The properties continue to be owned separately and are used for commercial and entertainment purposes.
Source: Brisbane City Council Heritage Register.
Hanoi was an incredible city. Visual overload, stimulation overload, Night market had too many things to photograph. These compact fluorescent lights hanging from the ceilings above all these exotic food... I already miss Hanoi.
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Ernest Henry discovered copper in the general vicinity of Mount Cuthbert in 1867, but it was not developed further at that time. John Chapman investigated Mount Cuthbert, Excelsior, and Mighty Atom copper claims in 1900 on behalf of Melbourne investors. Mount Cuthbert assayed the best at 6.5%.
The decision by the Government to extend the Townsville railway beyond Richmond stimulated further exploration in 1905 - 1906. In 1907 the Mount Cuthbert Company had capital of £240,000 and its mines included Mount Cuthbert, Kalkadoon, Mighty Atom, Orphan (near Dobbyn) and Little Wonder. The company had major financial problems from 1909 because of the lack of rail freight and had to reconstruct its capital holdings in 1912.
In 1915, with the price of copper soaring, the company spent £120,000 constructing smelters and had already sent away copper matte by horse teams before the railway reached the mine in September 1916. William H. Corbould, who was appointed Mount Elliott mine manager in 1909 had a grand vision for rationalising the copper industry in the Cloncurry district but, while war delayed its implementation an arrangement was worked out with Mount Cuthbert whereby up to 150 tons of ore per day were to be treated at the Mount Elliott smelter at Selwyn until the Mount Cuthbert plant was completed. Then the situation would be reversed while Mount Elliott increased the capacity of its smelter. Accordingly, the Selwyn smelter ran for five months at the end of 1915 and into 1916 treating both companies' ore, including 13,000 tons railed from Mount Cuthbert.
The Mount Cuthbert smelter was designed by W.H. Corbould, who was also a noted metallurgist and its completion was delayed because of the war. The blast furnaces were eventually fired early in 1917 and the initial operation treated over 25,000 tons of ore which produced 1,804 tons of copper worth £202,350. The Mount Cuthbert Company also invested in a new winding engine and headframe, 200 ton capacity ore bins, extensions to the blacksmith's shop and electricity connected to all the surface buildings. The old equipment was removed and reassembled at the Orphan mine.
Mount Cuthbert township was surveyed by the Mines Department in 1916, but the nearby mines had been worked from 1908 which might explain the close proximity of the settlement to the mines and therefore the smelter.
At its peak Mount Cuthbert township had two hotels, a cordial factory, two stores, three fruiterers, a photographer, butcher, baker, fancy goods/barber, hospital, police station, boarding house, and two railway stations (Mount Cuthbert and Dollubeet). A post office operated from 1908 to 1927. The mining company officers were housed in timber cottages and a barracks, while the majority of residents lived in tents or small corrugated iron shacks with earth floors and stone hearths.
Teamsters supplied logs to the sawmill operating to supply mine timbers from 1913. A school opened in 1917 with 30 pupils taught by Miss E Stapleton. At one point in 1917 the town was reported on the verge of starvation due to problems with railway freight operations.
Today the township area contains about 60 discernible building remains and stone footings, and a commercial area near the railway on the eastern side of the settlement. A cellar, cement floor, and ships tank baking oven indicate the site of the hotel, which reputedly was moved to Kajabbi where it still serves as the Kalkadoon Hotel.
The railway arrived at Mount Cuthbert in October 1915 after taking two years to construct the section north-east from Dugald River. The curving alignment passes through narrow gaps in ridge spurs and follows the Six Mile Creek. Its formation features embankments, cuttings, and bridgeworks. Without the railway, production from the smelters was hampered due to exorbitant freight costs. There were two wayside sidings, Mount Cuthbert and the terminus, Dollubeet, at Kalkadoon.
The Kalkadoon mine is part of the Mount Cuthbert mine group, situated about 2km north along the same geological formation. The earliest mineral lease to be granted in the Mount Cuthbert area was that of the Kalkadoon to Cuthbert Fetherstonhaugh of Cloncurry who took up 4.05 ha from the 1st of August 1899. This mine was mentioned by William Lees in 1906 as the "old mine" and it had already produced 300 tons of high grade ore.
It was further developed by the Mount Cuthbert Company from about 1907. By 1912 temporary pithead gear was in place: a winch and boiler and a headframe from Charters Towers was installed the next year. By 1916 the main shaft was down 107m. Ore mined at the Kalkadoon was smelted at Mount Cuthbert from 1917 and sent to Britain as prime blister copper. It is presumed that the mine closed in 1920 when smelting ceased at Mount Cuthbert. Its manager, J. Delaney, was a well known football player in the district.
In 1918 there was a fatal accident in the Mount Cuthbert mine at the 107m level. By 1919 the main shaft was down to 148m. In 1918 the Mount Cuthbert smelters treated 36,500 tons of ore until November when the crankshaft broke on the blower engine and closed the smelters after a record run. They were not refired until August 1919 and continued smelting copper until the price fell in 1920. The smelters shut down on the 19th of June 1920 after a final run of only 63 days.
The company was forced into raising capital in 1919 and attempted a further financial reconstruction in 1922. However, continued annual losses, low metal prices and pressing debenture commitments forced its liquidation in 1923. In 1925 the Mount Elliott Company purchased the Mount Cuthbert properties and plant for an undisclosed sum, certainly much less than the £500,000 valuation.
The population rose from 50 in 1908, to a peak of 1,000 in 1918, then dropped to 750 in 1920 and to 400 in 1924, but Mount Cuthbert became a ghost town after the Mount Elliott Company bought the mine and plant in 1925.
In 1942 Mount Isa Mines bought the Mount Cuthbert smelters for £900 and plant and other machinery was railed through Cloncurry to Mount Isa's new copper smelter. The Kalkadoon was worked on tribute again in the 1960s before being abandoned.
Source: Queensland Heritage Register.
Once there, egoism becomes stimulated by the subtle forces they have evoked, the emotional nature becomes more sensitive and more fluid, the imaginative power becomes more active and is less restrained. If a person then falls victim to spiritual error regarding this state, the result is swollen vanity, superstitious credulity, emotions run riot, and wild imagination. The astral plane, also called the astral world, is a plane of existence postulated by classical (particularly neo-Platonic), medieval, oriental, and esoteric philosophies and mystery religions.The astral plane, also called the astral world, is a plane of existence postulated by classical (particularly neo-Platonic), medieval, oriental, and esoteric philosophies and mystery religions. It is the world of the celestial spheres, crossed by the soul in its astral body on the way to being born and after death, and is generally believed to be populated by angels, spirits or other immaterial beings. In the late 19th and early 20th century the term was popularised by Theosophy and neo-Rosicrucianism. Another view holds that the astral plane or world, rather than being some kind of boundary area crossed by the soul, is the entirety of spirit existence or spirit worlds to which those who die on Earth go, and where they live out their non-physical lives. Some writers conflate this realm with heaven or paradise or union with God itself, and others do not. P. Yogananda wrote in Autobiography of a Yogi, "The astral universe . . . is hundreds of times larger than the material universe . . .[with] many astral planets, teeming with astral beings." (p.416) When Alice Bailey writes of seeing "Masters . . . upon the inner spiritual planes [who]. . . work with Christ and the planetary hierarchy," she refers to a vision she had of the unseen astral realm that these and countless other beings inhabit. Christ being in that realm, it is hard to construe it as a non-heaven. The Barzakh, olam mithal or intermediate world in Islam, and the "World of Yetzirah" in Lurianic Kabbalah are related concepts., and is generally believed to be populated by angels, spirits or other immaterial beings. In the late 19th and early 20th century the term was popularised by Theosophy and neo-Rosicrucianism. Another view holds that the astral plane or world, rather than being some kind of boundary area crossed by the soul, is the entirety of spirit existence or spirit worlds to which those who die on Earth go, and where they live out their non-physical lives. Some writers conflate this realm with heaven or paradise or union with God itself, and others do not. P. Yogananda wrote in Autobiography of a Yogi, "The astral universe . . . is hundreds of times larger than the material universe . . .[with] many astral planets, teeming with astral beings." (p.416) When Alice Bailey writes of seeing "Masters . . . upon the inner spiritual planes [who]. . . work with Christ and the planetary hierarchy," she refers to a vision she had of the unseen astral realm that these and countless other beings inhabit. Christ being in that realm, it is hard to construe it as a non-heaven.In Islam, the soul and the body are independent of each other. This is significant in Barzakh, because only a person's soul goes to Barzakh and not their physical body.[10] Since one's soul is divorced from their body in Barzakh, the belief is that no progress or improvements to one's past life can be made. If a person experienced a life of sin and worldly pleasures, one cannot try to perform good deeds in order to reach Jannah. Whatever one does in his or her lifetime is final and cannot be changed or altered in Barzakh.the Barzakh or Alam-e-Araf is not only where the human soul resides after death but it is also a place that the soul can visit during sleep and meditation. Ibn 'Arabi, defines Barzakh as the intermediate realm or "isthmus". It is between the World of Corporeal Bodies and the World of Spirits, and is a means of contact between the two worlds. Without it, there would be no contact between the two and both would cease to exist. It is described as simple and luminous, like the World of Spirits, but also able to take on many different forms just like the World of Corporeal Bodies can. In broader terms Barzakh, “is anything that separates two things”. It has been described as the dream world in which the dreamer is in both life and death. . In Tibetan Buddhism, bardo is the central theme of the Bardo Thodol (literally Liberation Through Hearing During the Intermediate State), the Tibetan Book of the Dead.Metaphorically, bardo can describe times when our usual way of life becomes suspended, as, for example, during a period of illness or during a meditation retreat. Such times can prove fruitful for spiritual progress because external constraints diminish. However, they can also present challenges because our less skillful impulses may come to the foreground, just as in the sidpa bardo.The intermediate being who makes the passage in this way from one existence to the next is formed, like every living being, of the five aggregates (skandha). His existence is demonstrated by the fact that it cannot have any discontinuity in time and space between the place and moment of death and those of rebirth, and therefore it must be that the two existences belonging to the same series are linked in time and space by an intermediate stage. The intermediate being is the Gandharva, the presence of which is as necessary at conception as the fecundity and union of the parents. Furthermore, the Antarāparinirvāyin is an Anāgamin who obtains parinirvāṇa during the intermediary existence. As for the heinous criminal guilty of one of the five crimes without interval (ānantarya), he passes in quite the same way by an intermediate existence at the end of which he is reborn necessarily in hell.What is an intermediate being, and an intermediate existence? Intermediate existence, which inserts itself between existence at death and existence at birth, not having arrived at the location where it should go, cannot be said to be born. Between death—that is, the five skandhas of the moment of death—and arising—that is, the five skandhas of the moment of rebirth—there is found an existence—a "body" of five skandhas—that goes to the place of rebirth. This existence between two realms of rebirth (gatī) is called intermediate existence.Originally bardo referred only to the period between one life and the next, and this is still its normal meaning when it is mentioned without any qualification. There was considerable dispute over this theory during the early centuries of Buddhism, with one side arguing that rebirth (or conception) follows immediately after death, and the other saying that there must be an interval between the two. With the rise of mahayana, belief in a transitional period prevailed. Later Buddhism expanded the whole concept to distinguish six or more similar states, covering the whole cycle of life, death, and rebirth. But it can also be interpreted as any transitional experience, any state that lies between two other states. Its original meaning, the experience of being between death and rebirth, is the prototype of the bardo experience, while the six traditional bardos show how the essential qualities of that experience are also present in other transitional periods. By refining even further the understanding of the essence of bardo, it can then be applied to every moment of existence. The present moment, the now, is a continual bardo, always suspended between the past and the future.In Sri Aurobindo's philosophy the Intermediate zone refers to a dangerous and misleading transitional spiritual state between the ordinary consciousness and true spiritual realisation. Similar notions can be found in mystical literature, such as "the astral plane" and "the hall of illusion." The Theosophist W. Q. Judge used the similar notion of "astral intoxication" Barzakh can also refer to a person. Chronologically between Jesus and Mohammad is the contested Prophet Khalid. Ibn 'Arabi considers this man to be a “Barzakh” or the Perfect Human Being. Chittick explains that the Perfect Human acts as the Barzakh or "isthmus" between God and the world. Ibn 'Arabi's story of Prophet Khalid is a story of Perfect Human being.
Khalid's story is of a Prophet whose message never emerged because before he died, he told his sons to open his tomb forty days after his death to receive the message of Barzakh. The sons, however, feared they would be looked down upon for opening their dead father's tomb, therefore they decided not to exhume their father. Thus, his message was never shared. An Ottoman Scholar explained that for Khalid to give the knowledge of Barzakh he would have to travel through the different worlds and then return, but because he was not exhumed, his message was never heard. Ibn 'Arabi explains that because this mission ended in failure, it does not conflict with The Prophet Mohammed’s statement: “ am nearest of men to Jesus son of Mary, for there is no prophet between him and me. The Barzakh, olam mithal or intermediate world in Islam, and the "World of Yetzirah" in Lurianic Kabbalah are related concepts. Plato and Aristotle taught that the stars were composed of a type of matter different from the four earthly elements - a fifth, ethereal element or quintessence. In the "astral mysticism" of the classical world the human psyche was composed of the same material, thus accounting for the influence of the stars upon human affairs. In his commentaries on Plato's Timaeus, Proclus wrote; Man is a little world (mikros cosmos). For, just like the Whole, he possesses both mind and reason, both a divine and a mortal body. He is also divided up according to the universe. It is for this reason, you know, that some are accustomed to say that his consciousness corresponds with the nature of the fixed stars, his reason in its contemplative aspect with Saturn and in its social aspect with Jupiter, (and) as to his irrational part, the passionate nature with Mars, the eloquent with Mercury, the appetitive with Venus, the sensitive with the Sun and the vegetative with the Moon. Such doctrines were commonplace in mystery-schools and Hermetic and gnostic sects throughout the Roman Empire and influenced the early Christian church. Among Muslims the "astral" world-view was soon rendered orthodox by Quranic references to the Prophet's ascent through the seven heavens. Scholars took up the Greek Neoplatonist accounts as well as similar material in Hindu and Zoroastrian texts. The expositions of Ibn Sina (Avicenna), the Brotherhood of Purity and others, when translated into Latin in the Norman era, were to have a profound effect upon European mediaeval alchemy and astrology. By the 14th century Dante was describing his own imaginary journey through the astral spheres of Paradise. Throughout the Renaissance, philosophers, Paracelsians, Rosicrucians and alchemists continued to discuss the nature of the astral world intermediate between earth and the divine. Once the telescope established that no spiritual heaven was visible around the solar system, the idea was superseded in mainstream science.
COPENHAGEN ULTRACONTEMPORARY BIENNALE
COPENHAGEN ULTRACONTEMPORARY BIENNALE is programed to take place in 2017 activating several art institutions, public space and daily media.
The aim of COPENHAGEN ULTRACONTEMPORARY BIENNALE is to introduce internationally the importance of ULTRACONTEMPORARY, EMERGENCY ART and ART FORMAT.
ULTRACONTEMPORARY (artistic capacity to express in sync with time and in closest possible proximity to “now”)
EMERGENCY ART (artistic duty to spot dysfunctions in the society, and act upon them before it is too late)
ART FORMAT (artistic framework created to expend and be activated globally in different contexts)
COPENHAGEN ULTRACONTEMPORARY BIENNALE is designed to stimulate flexibility and self-critique of what we today consider contemporary. Until 2017 there will continuously be organized a line of conferences and research projects as well as visible recruiting initiatives in order to establish a solid working team, train artists, introduce new methods for audience development and public involvement. One of the preparative education initiatives is ACADEMY OF EMERGENCY ART
This biennale format is built by Thierry Geoffroy / COLONEL, funder/ art format owner and Tijana Miskovic, curator/director.
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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
via New Hotel Travel ift.tt/20uS9bB Helsinki: A Visually Stunning and Culturally Stimulating Destination
Dimensions : 24x24cm (9.5x9.5")
Fabrik, silk fibers, buttons, silk carrier rods, gauze, sewing machine and embellishments
I've reviewed a few of the micro 4/3 system, Panasonic lens offerings, and put together this collection of articles HERE on the blog to celebrate the Valentines sales going on.
strobism: 1ab800 through diffused beauty dish with dragged shutter to bring in a bit of ambient color.
Well at the time of posting these shots, it's graduation season. So in honor of our graduates, here is a series of Tilly from Graduation Week a few years ago.
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