Happy Christmas!

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A Mirror Image (in a plane mirror) is a reflected duplication of an object that appears almost identical, but is reversed in the direction perpendicular to the mirror surface. As an optical effect it results from reflection off from substances such as a mirror or water. It is also a concept in geometry and can be used as a conceptualization process for 3-D structures. Two-dimensional mirror images can be seen in the reflections of mirrors or other reflecting surfaces, or on a printed surface seen inside-out.

If we first look at an object that is effectively two-dimensional (such as the writing on a card) and then turn the card to face a mirror, the object turns through an angle of 180° and we see a left-right reversal in the mirror. In this example, it is the change in orientation rather than the mirror itself that causes the observed reversal. Another example is when we stand with our backs to the mirror and face an object that's in front of the mirror. Then we compare the object with its reflection by turning ourselves 180°, towards the mirror. Again we perceive a left-right reversal due to a change in our orientation. So, in these examples the mirror does not actually cause the observed reversals.

The palace was constructed on a monumental scale that was intended to reflect the might and power of Imperial Russia. From the palace, the Tsar ruled over 22,400,000 square kilometers (8,600,000 sq mi) (almost 1/6 of the Earth's landmass) and over 125 million subjects by the end of the 19th century. It was designed by many architects, most notably Bartolomeo Rastrelli, in what came to be known as the Elizabethan Baroque style. The green-and-white palace has the shape of an elongated rectangle, and its principal façade is 215 metres (705 ft) long and 30 m (98 ft) high. The Winter Palace has been calculated to contain 1,886 doors, 1,945 windows, 1,500 rooms and 117 staircases. Following a serious fire, the palace's rebuilding of 1837 left the exterior unchanged, but large parts of the interior were redesigned in a variety of tastes and styles, leading the palace to be described as a "19th-century palace inspired by a model in Rococo style".

The State Hermitage Museum is a museum of art and culture in Saint Petersburg. The second-largest art museum in the world, it was founded in 1764 when Empress Catherine the Great acquired an impressive collection of paintings from the Berlin merchant Johann Ernst Gotzkowsky. The museum celebrates the anniversary of its founding each year on 7 December, Saint Catherine's Day. It has been open to the public since 1852. It attracted 4,956,524 visitors in 2019, ranking it eighth among the most visited art museums in the world. Of the six buildings in the main museum complex, five—namely the Winter Palace, Small Hermitage, Old Hermitage, New Hermitage, and Hermitage Theatre—are open to the public. The entrance ticket for foreign tourists costs more than the fee paid by citizens of Russia and Belarus. However, entrance is free of charge the third Thursday of every month for all visitors, and free daily for students and children. The museum is closed on Mondays. The entrance for individual visitors is located in the Winter Palace, accessible from the Courtyard.

The new Tappan Zee Bridge gleams in the night, with its 62 year old predecessor looming in the background. The old span was in the process of being demolished, leaving only the main two structures left. Check out my youtube for footage of when they blew it up!

Side note: Real New Yorkers still call it the Tappan Zee ✌️

Part of a head structure for a pilot mine, Babbitt, Minnesota. While cleaning out some old papers I found a roll of Kodak Tri-X wrapped in a small piece of paper that simply said: "Push to 3200". I had no idea what was on it or if it was even worth processing, but went ahead and had it developed last week. After viewing the images, I realized I exposed this roll 29 years ago! The images are grainy (no surprise at ASA 3200!) and some of the images are quite dark, but I think a couple of good images will come of it.

View large for additional detail.

maymont park richmond va

While I'm trying to figure out how to take this thing with me on a plane to afolcon next month, I thought I'd share a quick look at its 'private parts'.

from the "MILANO CITYSCAPE" set

Structure.

The structure at the top is Kane's Bridge, a pedestrian bridge across the Yarra River in Melbourne, at Yarra Bend Park. It's a suspension bridge and sways enough when people are crossing that some are scared to! The structures lower centre are spider webs, highlighted against the light in the fog.

Post-processing involved simply using the black pointer on a levels adjustment layer because I was shooting against the light and some sun flare had reached my camera sensor.

Better on black!

OK for ABC-TV Weather

View On Black.

© DBoz Photography

Structured clouds lead on a blurred set.

The conical granite structure was one in a series of lighthouses in Maine designed by architect Alexander Parris. A bell tower and fog bell were added in 1858, as well as a new lantern with a 3rd order Fresnel lens. The bell was replaced by a steam-powered whistle in 1889. The present keeper's house was built in 1892. The station was electrified in 1931 and automated in 1977; around that time, the lantern was removed and the lens was replaced aero-beacon. In 1985, a replica of the lantern was installed, and circa 1995, the aero-beacon was replaced with a VRB-25 lighthouse system.

The station was transferred in 1998 to the College of the Atlantic as part of the Maine Lights program. It is used as an ecology research station, primarily known for its work on finback and humpback whales.

The station is both farther offshore and more exposed than any other lighthouse on the east coast. It sustained serious damage during Hurricane Daisy (1962) and Hurricane Bill (2009). In August 2009, the boathouse was washed away, two walls of the generator building were ripped apart, and all the furniture and equipment on the first floor of the lightkeeper's house were ruined when it flooded almost to the ceiling. The college research station was subsequently closed until August 2010. (Wikipedia)

Larva; loop structure; scale bar: 5 mm with 0.1 mm div.

Supporting structure for the glass greenhouse at MUSE, Trento.

structure

At 6:39PM on April 1, 2018 the Los Angeles Fire Department responded to a reported structure fire in the 200 block of E Washington Blvd. Firefighters knocked down a fully involved commercial fire in 23 minutes with no injuries. LAFD Arson investigating the cause.

© Photo by Chris Conkle

LAFD Incident: 040118-1072

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

Rockland Apprenticeshop

Detailshoot of an soap´s delicate structure.

Structures

The Hague, Solleveld, 11 January 2020.

Another sunset.

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structure.

definitive one will be a way different than this.it’s only to have an idea of measures and forms, but i thought it became in a cute way and decided to take a pic :)

On northern-most west-face subsidiary door

_DSC0660 Anx2 1200h Q90

For the life of me, I don't understand why they stand crooked like that. Unless the structure is crooked and the photographer made it look horizontal.

I can't find much information about 'La Cuve' either, only a page in French, which is hard for me to understand. If anyone can tell me what this structure is about, thanks!

Structure...

Nouvelle Philarmonique - Paris

The tables and the empty field.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Hawker Fury was a British biplane fighter aircraft used primarily by the Royal Air Force in the 1930s. It was a development of the earlier Hawker F.20/27 prototype fighter, replacing the radial engine of the F.20/27 with the new Rolls-Royce F.XI V-12 engine (later known as the Rolls-Royce Kestrel), which was also used by Hawker's new light bomber, the Hawker Hart. The new fighter prototype, known as the Hawker Hornet, first flew at Brooklands, Surrey, in March 1929. The Hornet was a single-engine biplane, with single bay wings. It was initially powered by a 420 hp (313 kW) Rolls-Royce F.XIC engine enclosed by a smooth, streamlined cowling, but was quickly re-engined with a 480 hp (358 kW) Kestrel IS.

The prototype was evaluated against the similarly powered Fairey Firefly II, being preferred because of its better handling and its all-metal structure, compared with the mainly wooden construction of the Firefly.

The Hornet was eventually won the competition and was purchased by the Air Ministry in early 1930. It was, however, subjected to more tests, with a small initial production order for 21 aircraft placed during 1930. At this stage the Hornet was renamed Fury, as the Air Ministry wanted fighter names that "reflected ferocity". The ultimate production Fury Mk. I made its maiden flight at Brooklands on 25 March 1931.

The other active Yugoslav Fury squadron at the time of the invasion strafed enemy tanks and ground forces, some aircraft being lost to ground fire and one was destroyed in a dogfight with an Italian Fiat CR.42. The rest of the Yugoslav Furies were destroyed at the time of Armistice on 15 April or when they became unserviceable.

General characteristics:

Crew: 1

Length: 26 ft 7 in (8.11 m)

Wingspan: 30 ft 0 in (9.14 m)

Height: 10 ft 2 in (3.10 m)

Wing area: 252 sq ft (23.4 m²)

Empty weight: 2,9514 lb (1,340 kg)

Max takeoff weight: 3,814 lb (1,732 kg)

Powerplant:

1× Bristol Mercury IX 9-cylinder air-cooled radial piston engine, 830 hp (620 kW)

Performance:

Maximum speed: 253 mph (407 km/h, 220 kn) at 14,500 ft (4,420 m)

Range: 270 mi (430 km, 230 nmi)

Service ceiling: 32,800 ft (10,000 m)

Time to altitude: 3 min 35 sec. to 10,000 ft (3,000 m)

Armament:

4× 0.303 in (7.7 mm) Browning machine guns; two in the upper front fuselage, synchronized to fire

through the propeller disc with 600 RPG, plus one with 400 RPG beneath each lower wing

The kit and its assembly:

This quick build was based on the remnants of a Matchbox Hawker Fury biplane, which had donated its engine to another build, and leftover pieces from at least two Matchbox Gloster Gladiator kits, all mashed into one to create a fictional late Fury variant with a radial engine and some other updates. The Fury kit is a late Revell re-boxing, and while it retained the crisp details of the original, the molds seem to have suffered a little because the fuselage halves did not fit well and called for considerable PSR.

The Fury – or what was left of it – was built OOB, I just had to improvise the cowling ahead of the cockpit and scratch a front end to replace the inline engine. This was done with a piece from a bulbous (probably 1:48) drop tank, which was tailored to take the upper wing struts, and the rest of the fuselage was sculpted with 2C putty around an engine mount at the core, which was made from styrene profiles.

The different engine was 100% taken from a Matchbox Gladiator, even though I added a matching grid from another 9-cylinder radial for a different look. The three-blade propeller is new, too, probably from a Hobby Boss Fw 190A. From another Gladiator came the underwing machine gun pods as well as the Dowty wheels, which look more modern than the Fury’s OOB wheels. For an even more modernized look I replaced the Fury’s tailskid with a self-castoring tailwheel – apparently from a Gladiator, too.

The exhaust pipes were scratched from wire, the carburetor intake for the Mercury engine is a piece of sprue and the ventral oil cooler is a piece from a backrest (from a Matchbox Heinkel 70).

Painting and markings:

While the idea of an update Fury was quickly settled and defined by the ingredients at hand, finding a suitable operator was not an easy task. I considered various options and eventually settled for Yugoslavia, because this country was major Fury operator and I had appropriate national markings at hand.

The tri-color camouflage was based on the individual und very disruptive schemes that Yugoslavian Hawker Hurricanes carried. Information concerning the colors is quite contradictive, but AFAIK the schemes consisted of a yellowish sand brown, a medium khaki green and a dark, reddish brown, over light blue undersides with a low, wavy waterline raising from the wings to the stabilizers. Every aircraft carried a different pattern, and some machines of British origin also carried the former Temperate Land Scheme (Dark Green/Dark Earth/alu dope undersides), at least for a while.

I used Humbrol 63 (Sand), Modelmaster 2027 (FS 34096, Dark Olive) and Modelmaster 2106 (Burnt Umber), over Humbrol 87 (Steel Grey), because I wanted colors with good contrast from each other. The cockpit interior became anthracite (Revell 09), while the wing struts were painted in a dirty black (Revell 06).

The “windmill” roundels for the wings came from an Xtradecal sheet for Bristol Blenheims, the small fin flash was created with single decal stripes in red, white and blue, trying to match the roundels’ colors. The roman codes were typical for the Hurricanes between 1938-40 and created with single white letters from TL Modellbau. According to the typical Yugoslavian liveries of the era, the aircraft did, beyond national markings and tactical codes, not carry any colorful decoration, but I could not resist and added small unit badges in front of the fin flash.

The model received a light ink washing to emphasize the nice fabric structure on the wings, as well as some post-shading and weathering through dry-brushing with beige. Finally, the model was sealed with matt acrylic varnish and the rigging was added, created with heated and stretched black sprue material.

A relatively simple and quick build, and an attempt to “create something plausible” from leftover stuff. While Yugoslavia is not the most exotic operator of the Fury, I think that the fictional aircraft looks good in these colors and markings, even though the bulky radial really kills the Fury’s elegant lines, esp. its streamlined nose section. It looks quite backdated and reminds of a juvenile Fairey Swordfish?

The longest pier in Wales, and the fifth longest in England and Wales. Grade II* listed. Voted Pier of the Year in 2005.

Brooklyn Navy Yard

Original photoessay

My essay in the NY Times "The Local"

Mars Core Structure.

My attempt to make my own version of the model by Calvin J. Hamilton at the site: solarviews.com/cap/mars/marsint.htm.

Taken in a late afternoon winter light.

Part of my structures project. This Project was started in my 365 project & i really enjoy it.

I used a 31mm macroring to get closer to the subjects. Sometimes it's too close & your subject is touching the front lens element xDD

Karoonda Pioneer Park.

It is located in what was once the encircling parklands of Karoonda. These parklands, however we resurveyed for building blocks in 1928 but did not sell. It was reinstituted as parklands in 1982 and the Pioneer Park was started. The museum/park concentrates on pioneer farming techniques from 1910 to 1950 and the era when the railway was paramount in the Mallee. Old buildings in the Park include the Wynarka Methodist Church (1913), Bolt’s Bush Shed and Stables (1944), Westover’s Horse Shaft chaff cutter (1920s), Kunlara Post Office (about 1914), the first Hood family farmhouse (1913), and Brown’s blacksmith works (1914.) Structures from the railway era are quite prolific and include: railcar stock- sheep wagons, goods van, louvred van, Y truck for mallee roots, a 75 class railcar; Yurgo Railway Station; a railway siding; Mindarie Railway Pump House (1917); a pull trike; and an American made Brill(Barwell Bull) Railcar from Philadelphia which entered service in 1924. The Philadelphia Company provided chassis and the Islington Railway workshops built the body of the carriage. An improved version entered the service of South Australian Railways in 1927. The petrol running Brill cars were retired from service in 1971 after serving on almost all SAR country rail lines for nearly 50 years. (Henry Barwell was Premier of South Australia from 1920-1924 when the Brill cars first entered service and he was the man who authorised the erection of the current Adelaide Railway station. He also appointed William Webb from Colorado as the Chief Commissioner of the Railways in 1923. It was Webb who modernised SAR, expanded railway operations in Murray Bridge and Tailem Bend and introduced large, faster and heavier railway engines which necessitated rebuilding much of the railway line from Adelaide to Mount Lofty and elsewhere in SA. Webb returned to the USA in 1930 leaving SAR in debt but with good infrastructure which proved to be invaluable with troop and equipment movement during World War Two.

Karoonda.

Karoonda is the government town for the Hundred of Marmon-Jabuk which like the Hundred of Hooper was opened for sale in 1911.The town itself is right on the edge of the hundred because of the Brown’s Well railway line alignment which veered to this point because of a deep government well (220 feet) located here. Steam trains always needed good water supplies and so wells and bores were sunk across the Murray Mallee. There are excellent quality water supplies across the region which is why Lameroo and Pinnaroo have become major irrigation areas for vegetables. Beyond Karoonda the next deep government bore for water for steam trains was located at Alawoona. Regular passenger and freight trains started arriving at Karoonda from early 1913 but by then the government had already released plans for more railways in the Murray Mallee to Peebinga( the so-called railway to nowhere) and to Waikerie on the upper Murray.

Thus Karoonda was destined to be a major railway junction point from its inception with railway engines and cars and railway employees based in the future town. In fact the refreshment rooms were erected in 1914 as trains stopped in Karoonda for 10 minutes. Major work was done on the railway station in 1916 and from its inception the rail yards always had piles of mallee roots destined for the winter fires of Adelaide. Roots were obtained for the process of clearing the dense mallee and provided farmers with an additional source of income. Karoonda was the base for rail cars used on services to Peebinga, Waikerie, Barmera and Loxton. The rail services were a boon for Karoonda businessmen as Karoonda bakery sent items to stations most of the way to Loxton ; the blacksmith sent metal parts and repairs to sidings etc.

But most of the Mallee lines radiating out from Karoonda were closed during the 1980s but the Tookayerta Railway was converted to standard gauge in 1998. It allows standard gauge trains to operate between Tailem Bend and the Viterra Grain Terminal just outside of Loxton. It has grain stops at Karoonda, Mindarie, Wanbi, Alawoona and Loxton (Tookayerta). The only other rail line in the Mallee converted to standard gauge was the Pinnaroo line which also has grain trains in season. It also branches out from Tailem Bend. The railway lines north from Karoonda to Waikerie and east to Peebinga were closed in 1990 and Karoonda is no longer a rail junction.

Karoonda grew quickly despite the misgivings some had about the viability of farming in the Mallee. The town was

proclaimed in December 1913 and town lots were sold in January 1914. All the 103 allotments were purchased with prices for blocks opposite the railway line fetching the highest prices. One allotment was set aside by the government for an institute and in September 1914 a fine stone Institute hall had opened. This hall was crucial to the early settlers in Karoonda as the town school started in the hall in January 1915 and the first Anglican, Catholic and Methodist church services were held in this building. (The school was opened in 1917 and added to in 1928.) The first purchasers of town lots included a solicitor, blacksmith, butcher, greengrocer, storekeeper, hotelkeeper, fruiterer, carpenter, saddler, baker etc. Most of the first buildings were galvanised iron or timber framed and one example was the Bank of Adelaide which opened in 1914. The Karoonda Hotel opened in 1914 as the licensee of the hotel in Parrakie near Lameroo transferred his licensee to Karoonda. By the end of 1914 Karoonda had a police station, hotel, institute, four stores, a bakery, blacksmith, saddler, boarding house and some dwellings. Many of the early stone buildings were erected in 1915. Around 1918 Male Brothers from Murray Bridge opened their carriage and blacksmith works. By 1920 it had 40 employees.

In the 1920s Karoonda continued to grow and expand. New town subdivisions (1925 and 1928) were created south of the railway line and to the west of the existing town. The stone Post Office was completed in 1925; the Karoonda Hotel was extended in 1927 and 1930 (and again in 1961); the Institute had a movie projection box added to the front; the Masonic Lodge although formed in 1925 had their Temple open in 1930; the first Council Chambers were finished in 1927( before then a wooden prefab room was used); the Methodist church opened in 1925; All Hallows Anglican Church opened in July 1926; and St. Finian of Clonard Catholic Church opened in February 1930 and St. Johns Lutheran Church was completed in 1927. Then the Great Depression hit the town and drought years exacerbated its effects. The main structure built in the thirties was a new Police Station in 1938. Since the thirties a new besser block front has been added to the old Institute building (1962), new Council Chambers opened in 1981, and a new hospital was added to the town in 1970. As mentioned before Karoonda Area School was formed in 1940 with its official opening in January 1941. Its creation meant the closing of five surrounding small schools in 1940 and a further four school closures in 1941. Karoonda Area was the first in the state. New classrooms were built for it in 1963 and 1970. Karoonda is now surviving well as higher prices for wool and lamb and a more diversified range of cereal and legume crops adapted to low winter rainfall avoids low crop yields except in severe drought years.

Karoonda has a claim to fame that no other SA town can match. On 30th November 1930 a ball of fire was seen in the sky near Karoonda. A search by Professor Kerr Grant of the University of Adelaide located the meteorite that had landed near Karoonda two weeks after the sightings. It shattered on landing and 92 fragments of the meteorite were gathered. Professor Douglas Mawson the Professor of Geology analysed and described the meteorite for a 1934 scientific publication. It was an unusual meteorite type known as chondritic asiderite.It mainly consisted of olivine with minor amounts of a range of unusual minerals. A small fragment is kept in the Council Chambers. Its chemical composition was re-analysed in America in the 1950s. The town has a small plaque about the meteorite.

Biennalist

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

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

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

www.emergencyrooms.org/formats.html

www.colonel.dk/

Biennalist :

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

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

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

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

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

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

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

Characteristics[edit]

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

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

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

The Venice Biennale as an archetype[edit]

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

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

Biennials after the 1990s[edit]

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

International biennales[edit]

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

Adelaide Biennial of Australian Art, South Australia

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

Athens Biennale, in Athens, Greece

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

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

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

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

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

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

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

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

Biennial of Hawaii Artists

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

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

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

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

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

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

Changwon Sculpture Biennale in Changwon, South Korea

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

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

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

EVA International, biennial in Limerick, Republic of Ireland

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

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

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

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

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

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

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

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

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

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

Moscow Biennale, in Moscow, Russia

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

Mykonos Biennale

Nakanojo Biennale[13]

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

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

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

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

São Paulo Art Biennial, in São Paulo, Brazil

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

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

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

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

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

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

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

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

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

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

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

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

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

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

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

—---Venice Biennale from wikipedia —

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

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

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

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

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

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

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

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

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

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

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

1948–1973[edit]

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

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

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

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

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

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

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

1974–1998[edit]

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

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

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

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

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

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

1999–present[edit]

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

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

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

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

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

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

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

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

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

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

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

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

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

Role in the art market[edit]

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

Central Pavilion and Arsenale[edit]

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

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

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