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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
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Dharavi (Hindi and Marathi: धारावी; also spelled Daravi, Darravy, Dorrovy) is a slum in Mumbai, India. It is one of the largest slums in the world.
Dharavi slum was founded in 1880s during the British colonial era. The slum grew in part because of expulsion of factories and residents from peninsular city center by colonial government, and from rural poor migrating into urban Mumbai (then called Bombay). Modern day Dharavi came to be founded in the 1940's once the British left India, and once the majority property holders of the area, Shantilal Nemchand and Co sold off there property holdings allowing houses to be built. It is currently a multi-religious, multi-ethnic, diverse settlement. Dharavi's total population estimates vary between 300,000 to about 1 million.
Dharavi has an active informal economy in which numerous household enterprises employ many of the slum residents. It exports goods around the world. Leather, textiles and pottery products are among the goods made inside Dharavi by the slum residents. The total annual turnover has been estimated at over US$500 million.
Dharavi has suffered through many incidences of epidemics and other disasters. It currently covers an area of 217 hectares.
HISTORY
In the 18th century, Dharavi was an island. In February 1739, Chimnaji Appa attacked Bassein. Before that, he took possession of Dharavi. The area of present-day Dharavi was predominantly mangrove swamp before the late 19th century, inhabited by Koli fishermen. Dharavi was then referred to as the village of Koliwadas.
COLONIAL ERA
Mumbai has been one of the centers of India's urbanization for 200 years. At the middle of the 19th century, after decades of urban growth under East India Company and British Raj, the city's population reached half a million. The urban area then covered mostly the southern extension of Mumbai peninsula, the population density was over 10 times higher than London at that time. Most parts of Mumbai faced an acute shortage of housing and serious problems with the provision of water, sanitation and drainage. Residential areas were segregated in Mumbai between European and 'native' residential quarters. Slums were heavily concentrated in areas meant for 'native' Indian population, and it attracted no planning or London-like investment for quality of life of its inhabitants. Unsanitary conditions plagued Mumbai, particularly in the so-called Native Town, the segregated section where Indians lived. In 1869, as with 19th century epidemics in European slums, bubonic plague spread in Mumbai and then across most of India. The epidemic killed nearly 200,000 people in Mumbai and 8 million in India. In 1880s, concerned about epidemics, the British colonial government expelled polluting industries and many Indian residents of the Native Town, away from the peninsular part of the city, to a distant edge of the city in the north in the village of Koliwadas. Thus was born Dharavi.
The most polluting industries were tanneries, and the first tannery moved from peninsular Mumbai into Dharavi in 1887. People who worked with leather, typically a profession of lowest Hindu castes and of Muslim Indians, moved into Dharavi. Other early settlers included the Kumbars, a large Gujarati community of potters (another polluting industry). The colonial government granted them a 99-year land-lease in 1895. Rural migrants looking for jobs poured into Mumbai, and its population soared past 1 million. Other artisans, like the embroidery workers from Uttar Pradesh, started the ready-made garments trade. These industries created jobs, labor moved in, but there was no effort to plan or invest in any infrastructure in or near Dharavi. The living quarters and small scale factories grew haphazardly, without provision for sanitation, drains, safe drinking water, roads or other basic services. Dharavi's first mosque, Badi Masjid, started in 1887 and the oldest Hindu temple, Ganesh Mandir, was built in 1913. A large influx of Tamil migrants came in the 1920s. Bombay's first Tamil school and Dharavi's first school was constructed in 1924.
POST INDEPENDENCE
At India's Independence from colonial rule in 1947, Dharavi had grown to be the largest slum in Mumbai and all of India. It still had a few empty spaces, which continued to serve as waste dumping grounds for operators across the city. Mumbai, meanwhile, continued to grow as a city. Soon Dharavi was surrounded by the city, and became a key hub for informal economy. Dharavi's Co-operative Housing Society was formed in the 1960s to uplift the lives of thousands of slum dwellers by the initiative of Shri. M.V. Duraiswamy, a well-known social worker and congress leader of that region. The Dharavi co-operative housing society promoted 338 flats and 97 shops and was named "Dr. Baliga Nagar". By late 20th century, Dharavi occupied about 175 hectares, with an astounding population density of more than 2900 people per hectare.
DEMOGRAPHICS
The total current population of Dharavi slum is unknown, and estimates vary widely. Some sources suggest it is 300,000 to about a million. With Dharavi spread over 200 hectares, this corresponds to an average population density estimate between 1500 and 5000.
About 33% of the population of Dharavi is Muslim, compared to 13% average population of Muslims in India. The Christian population is estimated to be about 6%, while the rest are predominantly Hindus (60%), with some Buddhists and other minority religions. Among the Hindus, about 20% work on animal skin production, tanneries and leather goods. Other Hindus specialize in pottery work, textile goods manufacturing, retail and trade, distilleries and other caste professions - all of these as small scale household operations. The slum residents are from all over India, people who migrated from rural regions of many different states. The slum has numerous mosques, temples and churches to serve people of Islam, Hindu and Christian faiths; with Badi Masjid, a mosque, as the oldest religious structure in Dharavi.
LOCATION & CHARACTERISTICS
Dharavi is situated between Mumbai's two main suburban railway lines, the Western and Central Railways. To its west are Mahim and Bandra, and to the north lies the Mithi River, which empties into the Arabian Sea through the Mahim Creek. To its south and east are Sion and Matunga. Both its location and poor drainage systems make Dharavi particularly vulnerable to floods during the wet season.
Dharavi has a high population density, and as with other worldwide slums, overcrowded. It is mostly low rise structures surrounded by Mumbai city. In most large cities, the floor space index (FSI) varies from 5 to 15 in the Central Business District (CBD) to about 0.5, or below, in the suburbs. Dharavi's FSI is very low. Still, in expensive Mumbai, Dharavi provides a cheap alternative where rents were as low as US$4 per month in 2006.
There is a disagreement if Dharavi is the largest slum in Mumbai. Some sources claim other slums in Mumbai have grown to become larger than Dharavi. Other sources disagree, and rank Dharavi as the largest slum in India.
ECONOMY
In addition to the traditional pottery and textile industries in Dharavi, there is an increasingly large recycling industry, processing recyclable waste from other parts of Mumbai. The district has an estimated 5000 businesses and 15,000 single-room factories.
Dharavi exports goods around the world. The total (and largely informal economy) turnover is estimated to be between US$500 million, over US$650 million per year, to over US$1 billion per year. The per capita income of the residents, depending on estimated population range of 300,000 to about 1 million, ranges between US$500 to US$2000 per year.
REDEVELOPMENT PLANS
There have been many plans since 1997 to redevelop Dharavi like the former slums of Hong Kong such as Tai Hang. In 2004, the cost of redevelopment was estimated to be INR5000 crore (US$810 million). Companies from around the world have bid to redevelop Dharavi, including Lehman Brothers, Dubai's Limitless and Singapore's Capitaland Ltd. In 2010, it is estimated to cost INR15000 crore (US$2.4 billion) to redevelop.
The latest urban redevelopment plan proposed for the Dharavi area is managed by American-trained architect Mukesh Mehta. The plan involves the construction of 2,800,000 square metres of housing, schools, parks and roads to serve the 57,000 families residing in the area, along with 3,700,000 square metres of residential and commercial space for sale. There has been significant local opposition to the plans, largely because existing residents are due to receive only 25.0 square metres of land each. Furthermore, only those families who lived in the area before 2000 are slated for resettlement. Concerns have also been raised by residents who fear that some of their small businesses in the "informal" sector may not be relocated under the redevelopment plan. The government has said that it will only legalize and relocate industries that are not "polluting".
SANITATION ISSUES
Dharavi has severe problems with public health, due to the scarcity of toilet facilities, due in turn to the fact that most housing and 90% of the commercial units in Dharavi are illegal. As of November 2006 there was only one toilet per 1,440 residents in Dharavi. Mahim Creek, a local river, is widely used by local residents for urination and defecation, leading to the spread of contagious diseases. The area also suffers from problems with inadequate drinking water supply.
EPIDEMICS & OTHER SISASTERS
Dharavi has experienced a long history of epidemics and natural disasters, sometimes with significant loss of lives. The first plague to devastate Dharavi, along with other settlements of Mumbai happened in 1896, when nearly half of the population perished. A series of plagues and other epidemics continued to affect Dharavi, and Mumbai in general, for the next 25 years, with high mortality rates. Dysentery epidemics have been common throughout the years and explained with the high population density of Dharavi. Other epidemics reported include typhoid, cholera, leprosy, amoebiasis and polio, through recent years. For example, in 1986, a children cholera epidemic was reported, where most patients were residents of Dharavi. Typical patients to arrive in hospitals were in late and critical care condition, and the mortality rates were abnormally high. In recent years, cases of drug resistant tuberculosis have been reported in Dharavi.
Fires and other disasters are common. For example, in January 2013, a fire destroyed many slum properties and caused injuries. In 2005, massive floods caused deaths and extensive property damage.
GUIDED TOURS THROUGH DHARAVI
A few travel operators offer guided tours through Dharavi, showing the industrial and the residential part of Dharavi and explaining about problems and challenges Dharavi is facing. These tours give a deeper insight into a slum in general and Dharavi in particular.
MEDIA DECIPTION
- Dharavi has been depicted in a number of Hindi films produced by the Mumbai film industry. These include Salim-Javed films such as Deewaar (1975), Mira Nair's Salaam Bombay! (1988) where several child actors were from the Dharavi slum, Vidhu Vinod Chopra's Parinda (1989), Sudhir Mishra's Dharavi (1991), Ram Gopal Varma's "Indian Gangster Trilogy" (1998–2005) and Sarkar series (2005–2008), Vikram Bhatt's Footpath (2003), Anurag Kashyap's Black Friday (2004) and No Smoking (2007), Madhur Bhandarkar's Traffic Signal (2007), Rajeev Khandelwal's Aamir (2008), and other films based on the Mumbai underworld.
- Dharavi has been depicted in films from other Indian film industries, particularly the Tamil film industry. Several films by Mani Ratnam based on the experiences of Tamil immigrants to Mumbai have depicted the Dharavi slum, including Nayagan (1987) and Bombay (1995).
- Dharavi features prominently in Danny Boyle's 2008 film Slumdog Millionaire, where several of the child actors in the film are from the Dharavi slum.
- The movie Mankatha was shot here starring Ajith kumar.
- The movie Businessman was shot here starring Mahesh Babu.
- In Kaminey, the 2009 Hindi movie, starring Shahid Kapoor.
- In the 2009 Swiss/German documentary Dharavi, Slum for Sale of director Lutz Konermann.
- In a programme aired in the United Kingdom in January 2010, Kevin McCloud and Channel 4 aired a two-part series titled Slumming It which centered around Dharavi and its inhabitants.
- The poem "Blessing" by Imtiaz Dharker is about Dharavi not having enough water.
- For The Win, by Cory Doctorow, is partially set in Dharavi.
Manufacturer Serial Number (MSN)28177
Line Number69
Aircraft Type
Built as
Boeing 737-8Z9
Winglets installed Mar 2007
Boeing 737-8Z9(WL)
First Flight3 Jul 1998
Age24.4 Years
Production Site Renton (RNT)
Airframe Status
Active as G-GDFP Jet2
Last updated on Aug 18, 2022
Pampers active baby Your baby enjoys his newly found freedom of movement – he is now able to crawl up to 1000m in only half an hour. To allow him to go so far, P&G's created Pampers Active Fit with Comfort Stretch. A diaper, that flexes to fit where your baby needs it most.
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Maker:
Born: France
Active: France
Medium: albumen print
Size: 3 1/2 in x 7 in
Location:
Object No. 2022.078
Shelf: E-14-FRANC
Publication:
Other Collections:
Provenance: photobookparis
Rank: 75
Notes: TBAL
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The active pool in the Ft. Worth Water Gardens. The park reopened to the public on March 4, 2007 after being shut down for nearly three years when four people drowned in 2004. While closed, the Water Gardens went through both safety and aesthetic renovation. It's beautiful and the sound is soothing -- I recommend stopping by if you're ever downtown.
(Other than cropping and white balance, this hasn't been Photoshopped.)
Ft. Worth, TX.
The White-throated Laughingthrush is a medium-sized (28 cm), active and noisy bird with a dull brown back and tail, a bright rufous crown and nape, and a conspicuous white throat and upper breast. The flanks are tinged rufous, there is a grayish brown band bordering the white across the breast, the belly is whitish tinged buff and the undertail coverts are white. The outer four pairs of tail feathers are tipped white. The iris and feet are brown and the bill is black.
The White-throated Laughingthrush makes a variety of squeals, buzzes and laughing calls. It is found in small to large flocks moving in the middle levels of the forest, but also feeds near the ground. It eats mainly grass seeds, fruits and berries, and sometimes insects. It prefers mid- and high-elevation primary forests, and is an uncommon resident in the Central Mountain Range from 850-1800 m.
Image source: Queensland State Archives Item ID ITM1102501 Expo 88 opening day crowds outside the Australia Pavilion, Brisbane.
World Expositions (or Exhibitions) become increasingly popular after the 1851 Great Exhibition in London, but their frequency, and the standard of their facilities, was not regulated until after the 1928 Paris Convention on International Expositions. The Bureau International des Expositions (BIE) was established in 1931 to administer the Convention. Under BIE rules there are two types of international exposition: the Universal/Category A/General Exposition, and the International/Category B/Special Exposition. The former involves broad themes, and participants design their own pavilions from the ground up, based on the theme.
The International Exposition, which has a narrower theme, is much cheaper to host, and is usually limited to one branch of human endeavour. Participants rent prefabricated pavilions from the host country's committee. Brisbane's Expo 88 was an International Exposition, with the theme "Leisure in the Age of Technology". Most of the structures built on exposition sites are intended to be temporary, but some sites have become parks, incorporating surviving exposition elements, including the sites of Montreal 1967, Seville 1992, Taejon 1993, and Lisbon 1998. Some structures have gone on to become landmarks in their own right, such as the Royal Exhibition Building (Melbourne 1880), the Eiffel Tower (Paris 1889), and the Space Needle (Seattle 1962).
The first bid to bring an exposition to Brisbane in 1988 began with James Maccormick , the architect who had designed the Australian pavilions at Montreal 1967, Osaka 1970, and Spokane 1974. The Brisbane Chamber of Commerce was converted to the idea, and lobbied the Queensland State Government during 1977. However, the Queensland Government was worried about the cost of a Universal Exposition, and was preoccupied with its bid for the 1982 Commonwealth Games. A second Queensland bid was made in 1981. The Australian Bicentennial Authority (ABA), under John Reid, wanted an Universal Exposition in Australia as part of Bicentennial in 1988, and the Federal Government was prepared to fund half of the cost of an exposition in Melbourne or Sydney. However, when these states turned the offer down in January 1981, Reid approached the Queensland Government with a proposal for a cheaper International Exposition. In late 1981 the State Cabinet funded a study that identified South Brisbane as the preferred site. The State Cabinet approved the study on 5 November 1981, on the condition that the Federal Government share the capital costs, but Prime Minister Malcolm Fraser rejected this notion in December 1981.
Queensland made two more attempts in 1982 for an International Exposition. Frank Moore, Chairman of the Queensland Tourist and Travel Corporation (QTTC), believed that private enterprise could fund the exposition, and that it would benefit Queensland's tourism. Queensland's Premier Joh Bjelke-Petersen asked Prime Minister Fraser to get the BIE to keep a slot open for Brisbane in 1988. Fraser was willing to support this proposal, so long as there was no Federal financial commitment. However, Queensland private enterprise was not forthcoming, and Bjelke-Petersen withdrew the proposal in April 1982. November of 1982 witnessed a renewed bid by the State Government. The State would lend money to a statutory authority, which would be tasked with buying and developing the land, and managing the exposition. Brisbane's application was sent to the December 1982 meeting of the BIE in Paris, and was approved in June 1983.
The Brisbane Exposition and South Bank Redevelopment Authority (BESBRA) was established in February 1984 by an Act of the Queensland Parliament. BESBRA was soon referred to in the media as the Expo 88 Authority, or the Expo Authority. Sir Llewellyn Edwards, the Deputy Premier, was appointed as Chairman. In April 1984 the Expo 88 Authority's general manager, Bob Minnikin, claimed that Expo 88 would require $180 million to produce, including resumptions and development, and $90 million to run. It was hoped that gate takings and sponsorship would cover the running costs, and that the development cost would be recouped through selling off the site after Expo 88. Only 13 hectares of the Expo 88 site was private land, with the remainder of the 40 hectares belonging to either the State Government or the Brisbane City Council. Nonetheless, the last resumption did not occur until October 1984, as the owner of the heritage-listed residence 'Collins Place' fought a running legal battle with the Expo 88 Authority.
Grey and Stanley Streets were closed to traffic in July 1985, and demolition work began. Construction of the pavilions started in January 1986. The concept of the Expo 88 architects, Bligh Maccormick 88, included eight large shade-canopies, to protect the public from the Queensland sun. Landscaping began in March 1987, and the Monorail, which would circle the site on a 2.3 kilometre long track, was commissioned in June of that year. By January 1988, $90 million of the $136.8 million construction budget had been spent, and 7.8 million visitors were expected.
During 1987 developers had been asked to present their proposals for Southbank's redevelopment after Expo 88. In February 1988 the State Government announced that the redevelopment plan of the River City 2000 Consortium had been accepted. The Consortium, headed by Sir Frank Moore of the QTTC, had visions of a World Trade Centre on an island, and a casino. However, by early 1988 there was a growing call in the media for more of the site to be turned into public parkland. During March and April 1988 the National Trust protested the River City 2000 Consortium's scheme to move Collins Place, the Plough Inn, and the Allgas Building, three heritage listed buildings, to a historic village. Premier Mike Ahern eventually gave reassurances that this would not happen.
Expo 88 ran for seven days a week, between the hours of 10am-10pm, for six months. Between its opening on 30 April, attended by Queen Elizabeth II, and 30 October 1988, the Expo attracted 15,760,447 visitors, the majority of these being Australians. Most of the international visitors were Japanese, but 100,000 came from the United Kingdom and Europe, with 150,000 visitors from the United States. A total of 36 nations, two international organisations, 14 state and regional governments, and 34 corporations had exhibits.
The pavilions were mostly plain, modular, and temporary. However, the Nepalese Peace Pagoda is a distinctive building, and was easily noticed as the public came through the Vulture Street entrance to Expo 88. The Association to Preserve Asian Culture (APAC) commissioned the Peace Pagoda, which was built by 160 craftsmen of the Kathmandu Valley over two years, before being assembled in Brisbane. It is one of only three such temples outside Nepal, the others being at Munich and Osaka. Nepal has a long history of intricate woodcarving on buildings, and the Peace Pagoda was an attempt to showcase this skill to the world. The two small timber pavilions in front of the Peace Pagoda sold yoghurt lati, samosas, orange juice and lemon tea. Artisans demonstrated their crafts inside the ground floor of the Pagoda, and people could drink their tea and watch the Expo crowds from the teahouse on the first floor. The nearby Nepalese pavilion showcased traditional costumes, climbing dress, photographs, and artefacts.
Expo 88 was a turning point for Queensland's culture and economy, especially in Brisbane. On 30 May 1983 Joh Bjelke-Petersen had noted that if Brisbane's bid were successful, it would focus the world's spotlight on Queensland. Sir Frank Moore believed that the key to developing a major tourist industry in Queensland was a series of hallmark events, including the 1982 Commonwealth Games, which would focus attention on Queensland far better than any advertising campaign. Expo 88 was also intended to start Brisbane on a modernisation process, and towards becoming a 'global' city. The urban renewal of South Brisbane was just one aspect. In April 1984 Sir Llew stated that Queensland would never be the same again after Expo 88, and Brisbane would develop an image as a centre of trade, culture and entertainment. In April 1988 the Courier Mail claimed that Expo 88 was "bridging the yawning gap from a hayseed State to an urbane, international future". Sir Llew also claimed in April 1988 that the aim was for Expo 88 to be a catalyst for a change in lifestyle. Queenslanders had experienced extended opening hours and outdoor café dining, and had liked it.
While the crowds enjoyed Expo 88, controversy continued regarding future plans for the site. There were calls for more public input on redevelopment plans. About 4.5 hectares of land between Stanley Street and the river belonged to the Brisbane City Council (BCC), as Clem Jones Park, and had been lent to the Expo 88 Authority. In June 1988 it was decided to restore this land as parkland, and the River City 2000 Consortium lost its Preferred Developer status.
Government plans for a South Bank Development Corporation were announced, and in July 1988 an interim committee, headed by Sir Llew, was formed to oversee redevelopment. Sir Llew noted in October 1988 that more public funding was necessary to increase the parkland component of the new Southbank, as the land had been earmarked for development to repay for the cost of Expo 88. The draft redevelopment plans released in November 1988 included 12 hectares of parkland. Public submissions on the plan suggested that people wanted to be able to return to the Expo 88 site, to a public facility that had a similar combination of food, art and nature.
At the end of Expo 88, the APAC had planned to sell the Nepalese Peace Pagoda, and it appeared likely that it would be moved to Japan. However, 90,000 people had signed a petition during Expo 88 to keep the Peace Pagoda in Brisbane, and in late 1988 the BCC offered to provide land for the Peace Pagoda, if the Federal Government would pay for its cost and maintenance. A "Save the Pagoda Campaign" was active by February 1989. Public donations eventually totalled $52,000, with $30,000 coming from one couple, who wanted to "give Brisbane something to remember from Expo 88". The BCC provided $50,000, and the Federal Government supplied $100,000. "The Friends of the Pagoda Committee" also raised funds to buy several items that had complemented the Peace Pagoda, including a brass statue of the deity of compassion, a bronze bell and carved stone frame, and a stone lingam.
The Southbank Development Corporation was set up February 1989, with Vic Pullar as the Chairman. Approximately $200 million had been spent on developing the Expo site, and this money had to be recouped. The South Bank Corporation Act was passed in May 1989, and the former Clem Jones Park area was transferred to the Southbank Corporation, which was tasked with managing a new parkland precinct. In June 1989 submissions were sought from five architectural firms, and in August the "Media Five" concept of a mixed residential, commercial, and parkland development was chosen. Under Media Five's plans, the Peace Pagoda would be moved to the northern part of the parklands. The Media Five Chairman, Desmond Brooks, also suggested that Collins Place, the Plough Inn and the Allgas Building be removed to a historic village, but Vic Pullar rejected this idea. However, when the Southbank Corporation's Draft Development Plan was released in November 1989, it proposed to only keep the facades of the historic buildings. After protests by the National Trust, the State Government overruled the Southbank Corporation.
The proposed redevelopment included a waterway through the park, and a large lagoon, which was later downsized. In March 1990 the Final Plan was presented, after public submissions, and site redevelopment started in July 1990. The official Southbank Parklands opening occurred on 20 June 1992. The Waterway was later filled in and replaced with the Energex Arbour, which was officially opened in March 2000.
The transfer of the Peace Pagoda to its current site started on 24 September 1991. The deity of compassion was moved from the first floor to a glass case on the ground floor, the sides of the ground floor were encased in glass, and a display case was added inside. Access to the first floor was sealed off. The two smaller pavilions were also transferred, but their service windows were locked up. Two lion statues and two elephant statues were also relocated. The building was originally designed to be demountable, but it is currently set in a ceramic tiled floor. The Peace Pagoda was one of the best-loved exhibits at Expo 88, as visitors were able to relax in it away from the bustle of the crowds. Today it is still popular, both with tourists, and those who go there to meditate and reflect.
Despite late entrants into the Exposition due to domestic political measures, World Expo 88 attracted some 100 pavilions, from 52 governments, of which 36 were from international-level, and numerous corporate participants. Major western and European nations were represented such as the United States, the Soviet Union (last representation at a World Exposition), France, West Germany (also last representation at a World Exposition), the United Kingdom, Canada, Spain and Greece, as well as major Asian countries such as Singapore, Thailand, Nepal, Pakistan, China, Japan, Sri Lanka, South Korea, Indonesia, and the Philippines, and amongst others. Close neighbouring countries, New Zealand and Papua New Guinea were also represented.
State-level and multi-lateral organisations included the six Australian states, the United Nations, the European Union, Vatican City, three American states (Hawaii, California and Alaska), one Japanese prefecture (sister state of Queensland, Saitama Prefecture), and one Japanese city (Brisbane's sister city Kobe City).
Corporate pavilions included IBM, Ford, Fujitsu, Queensland Newspapers, Australia Post, Cadbury Chocolate, Suncorp, and the Queensland Teachers Credit Union. NASA and Universal Studios hosted outdoor exhibits, with models of the space shuttle and Apollo program, as well as the car KITT from the TV series Knight Rider. Also having its own pavilion was the official Australian TV partner of the Expo, Network Ten, via its Queensland station TVQ, whose news studios were located there for public tours and during the Expo also switched channel frequencies in September (from channel 0 to channel 10) in line with the other state channels.
The most expensive pavilion was Japan (A$26 million), followed by the Queensland Pavilion (A$20 million) and the Australia Pavilion (A$18 million). The largest Pavilions were also Queensland,[6] followed by Australia then Japan.
High Definition TV received its Australian premiere at the Japan Pavilion, and the text-based Internet at the Swiss Pavilion. At the University pavilion the world's longest lab experiment was on display. The pitch drop experiment, which features tar pitch slowly dripping through a funnel at a rate of nine drops in 81 years, actually made an unseen drop while on display.
Shot for Active Assignment Weekly, theme "One Subject Photo".
WIT
I am not sure that I understood the assignment correctly, but here you go. One of my bee hives, in a nice background. My opinion :)
Shot for Active Assignment Weekly, theme "Since When?"
This bread topping is mostly sugar (92%), the rest is crushed anise seeds. It is a sort of powder that you need to apply very gently, in order not to cover the whole kitchen in dust. I am not fond of this, but my other family members love it.
Maker: Timothy O'Sullivan (1840-1882)
Born: Ireland
Active: USA
Medium: albumen print
Size: 3.5 in x 7 in
Location: USA
Object No. 2011.049
Shelf: A-34
Publication: James D. Horan, Timothy O'Sullivan, America's Forgotten Photographer, Bonanza Books, New York, 1966, pg 286
Era of Exploration, The Rise Of Landscape Photography in the American West 1860-1885. by Weston J. Naef. Albright-Knox Art Gallery/Metropolitan Museum of Art, 1975, pg 131
Parallel Processes - Striking Images, The Drapkin Collection, Clearwater, 2007, pg 37
Other Collections:
Provenance: Stereographica, auction No. 23, March 6, 2011, lot 177
Rank: 273
Notes: Wheeler Expedition of 1871, No 5. Caption: This tribe inhabits the region of the lower Colorado, or western Arizona. Physically they are the finest specimens in all the west, many of the males attaining to the height of 6 feet.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Active Assignment Weekly: Capture Your Country
I know Joe already went with this theme for America, but it's one of the first photos I took for this assignment but wasn't sure about it. Then I noticed some details I liked and decided to go for it. SOOC, except for a little clarity enhancement.
Sub-Lieutenant Danielle Turner a Maritime Surface and Sub-Surface Officer checks a vessels bearing from Her Majesty's Canadian Ship Charlottetown's bridge during Operation ACTIVE ENDEAVOUR with, Standing NATO maritime Group 1 in the Mediterranean Sea on February 5, 2012.
L’Enseigne de vaisseau de 1re classe Danielle Turner, officier des opérations maritimes de surface et sous-marines, vérifie l’azimut sur la passerelle du Navire canadien de Sa Majesté CHARLOTTETOWN lors de l’opération Active Endeavour dans la mer Méditerranée, avec le 1er Groupe de la Force navale permanente de réaction de l’OTAN, le 5 février 2012.
Photo : Cpl Ronnie Kinnie
HS2012-0071-095
Active Pass, Gulf Islands, BC., Canada
The MV Queen of Nanaimo is a Burnaby class passenger vessel operated by BC Ferries.
The ship was built in 1964 by Victoria Machinery Depot. In 1974 the ship was rebuilt and extended 25 meters in length. It currently operates on the Tsawwassen-Gulf Islands route web. In 2006 there was a major overhaul of passenger areas. Its propulsion is by two Mirrlees National KVSSM twin turbocharged (intercooled) single acting 4 stroke, V16 diesel engines which produce 3,000 bhp (2,200 kW) at 320 rpm. 15 inch bore by 18-inch (460 mm) stroke. Propellers are variable pitch (controllable-pitch propeller) made by KaMeWa (a Rolls Royce company).
Breast Actives made with all natural ingredients for more details visit at www.breastactivesworks.com/
St Elphin's Church is the parish church of the town of Warrington, Cheshire, England. The church is recorded in the National Heritage List for England as a designated Grade II* listed building. It is an active Anglican parish church in the diocese of Liverpool, the archdeaconry of Warrington and the deanery of Warrington.
A place of worship has been present on the site since about 650 AD, and the presence of a priest in Warrington was recorded in the Domesday Book. According to tradition the first church was built by Saint Oswald for his companion Elphin, who remained as the first priest there until his death in 679. The earliest fabric in the present church is in the chancel and the crypt, which survive from the church built in 1354 by Sir William Boteler. The church was badly damaged by the Parliamentary forces in the Civil War. Following this the tower was rebuilt in 1696 and the nave in 1770. The south aisle was added in the early 19th century. Most of the fabric of the present church is the result of an extensive restoration between 1859 and 1867 by Frederick and Horace Francis. It was during this restoration that the spire was added. The bells were recast in 1698 and again in 1884. In 1950 they were recast again and the clock was replaced.
Within the church, St Ann's Chapel was founded by Thomas Massey, rector of Warrington from 1448 to 1464. It continued to belong to the Massey family until they died out in 1748. The chapel was then acquired by the Patten family who built a vault to bury members of the family, the last being Lord Winmarleigh in 1892. The Lady Chapel was founded and endowed by Sir John Boteler in 1290. He and other family members were buried in the chapel. In 1943 it became the chapel of the South Lancashire Regiment and in 1976 the chapel of the Queen's Lancashire Regiment.
The church is dominated by its spire, 281 feet (86 m) high. It is
the fifth highest parish church in the UK, after the St. Walburge's Church, Preston, St. James Church, Louth, St Mary Redcliffe, and St. Wulfram's Church, Grantham, the eighth highest spire in England, after the above four and Salisbury Cathedral, Norwich Cathedral, and Coventry Cathedral.
The Fort Worth Water Gardens is a beautiful and refreshing oasis adjacent to the Fort Worth Convention Center. Designed by Phillip Johnson, the Fort Worth Water Gardens is an architectural and engineering marvel
Shown here is active geothermal area with boiling mud. You need to pay attention to the maked trails since smaller holes can open up at any time and cause hikers to lose a foot or more.
White-bellied Sea Eagle
The white-bellied sea eagle (Haliaeetus leucogaster), also known as the white-breasted sea eagle, is a large diurnal bird of prey in the family Accipitridae. Originally described by Johann Friedrich Gmelin in 1788, it is closely related to Sanford's sea eagle of the Solomon Islands, and the two are considered a superspecies. A distinctive bird, the adult white-bellied sea eagle has a white head, breast, under-wing coverts and tail. The upper parts are grey and the black under-wing flight feathers contrast with the white coverts. The tail is short and wedge-shaped as in all Haliaeetus species. Like many raptors, the female is slightly larger than the male, and can measure up to 90 cm (35 in) long with a wingspan of up to 2.2 m (7.2 ft), and weigh 4.5 kg (9.9 lb). Immature birds have brown plumage, which is gradually replaced by white until the age of five or six years. The call is a loud goose-like honking.
Resident from India and Sri Lanka through Southeast Asia to Australia on coasts and major waterways, the white-bellied sea eagle breeds and hunts near water, and fish form around half of its diet. Opportunistic, it consumes carrion and a wide variety of animals. Although rated as Least Concern globally, it has declined in parts of southeast Asia such as Thailand, and southeastern Australia. It is ranked as Threatened in Victoria and Vulnerable in South Australia and Tasmania. Human disturbance to its habitat is the main threat, both from direct human activity near nests which impacts on breeding success, and from removal of suitable trees for nesting. The white-bellied sea eagle is revered by indigenous people in many parts of Australia, and is the subject of various folk tales throughout its range.
The white-bellied sea eagle has a white head, rump and underparts, and dark or slate-grey back and wings. In flight, the black flight feathers on the wings are easily seen when the bird is viewed from below. The large, hooked bill is a leaden blue-grey with a darker tip, and the irides are dark brown. The cere is also lead grey. The legs and feet are yellow or grey, with long black talons (claws). Unlike those of eagles of the genus Aquila, the legs are not feathered. The sexes are similar. Males are 66–80 cm (26–31 in) long and weigh 1.8–3 kg (4.0–6.6 lb). Females are slightly larger, at 80–90 cm (31–35 in) and 2.5–4.5 kg (5.5–9.9 lb). The wingspan ranges from 1.78 to 2.2 m (5.8 to 7.2 ft). A 2004 study on 37 birds from Australia and Papua New Guinea (3 °S to 50 °S) found that birds could be sexed reliably on size, and that birds from latitudes further south were larger than those from the north. There is no seasonal variation in plumage. The moulting pattern of the white-bellied sea eagle is poorly known. It appears to take longer than a year to complete, and can be interrupted and later resumed from the point of interruption.
The wings are modified when gliding so that they rise from the body at an angle, but are closer to horizontal further along the wingspan. In silhouette, the comparatively long neck, head and beak stick out from the front almost as far as the tail does behind. For active flight, the white-bellied sea eagle alternates strong deep wing-beats with short periods of gliding.
A young white-bellied sea eagle in its first year is predominantly brown, with pale cream-streaked plumage on their head, neck, nape and rump areas. The plumage becomes more infiltrated with white until it acquires the complete adult plumage by the fourth or fifth year. The species breeds from around six years of age onwards. The lifespan is thought to be around 30 years.
The loud goose-like honking call is a familiar sound, particularly during the breeding season; pairs often honk in unison, and often carry on for some time when perched. The male's call is higher-pitched and more rapid than that of the female. Australian naturalist David Fleay observed that the call is among the loudest and furthest-carrying of all Australian bird calls, in stark contrast to the relatively quiet calls of the wedge-tailed eagle.
Adult white-bellied sea eagles are unmistakable and unlikely to be confused with any other bird. Immature birds can be confused with wedge-tailed eagles. However, the plumage of the latter is darker, the tail longer, and the legs feathered. They might also be confused with the black-breasted buzzard (Hamirostra melanosternon), but this species is much smaller, has white patches on the wings, and has a more undulating flight. In India, the Egyptian vulture has white plumage, but is smaller and has a whiter back and wings. The white tail of the white-bellied sea eagle in flight distinguishes it from other species of large eagles. In the Philippines, it can be confused with the Philippine eagle, which can be distinguished by its crest; immature white-bellied sea eagles resemble immature grey-headed fish eagles, but can be identified by their more wholly dark brown underparts and flight feathers, and wedge-shaped tail.
The white-bellied sea eagle is found regularly from Mumbai (sometimes north to Gujarat, and in the past in the Lakshadweep Islands) eastwards in India, Bangladesh, and Sri Lanka in southern Asia, through all of coastal Southeast Asia including Burma, Thailand, Malaysia, Indonesia, Indochina, the main and offshore islands of the Philippines, and southern China including Hong Kong, Hainan and Fuzhou, eastwards through New Guinea and the Bismarck Archipelago, and Australia. In the northern Solomons it is restricted to Nissan Island, and replaced elsewhere by Sanford's sea eagle. In Victoria, where it is otherwise scarce, it is locally more common at Corner Inlet and Gippsland Lakes. Similarly in South Australia, it is most abundant along the north coast of Kangaroo Island. The range extends to the islands of Bass Strait and Tasmania, and it is thought able to move between the islands and the mainland. There is one unconfirmed record from Lord Howe Island and several from New Zealand.
They are a common sight in coastal areas, but may also be seen well inland (It is reportedly seen at the Panna Tiger Reserve in central India, nearly 1,000 km (621 mi) away from the sea shore) The white-bellied sea eagle is generally sedentary and territorial, although it may travel long distances. They have been reported travelling upriver to hunt for flying foxes (Pteropus). Populations in inland Australia move around as inland bodies of water appear and then dry up. In one instance, a pair came to breed at Lake Albacutya in northwestern Victoria after the lake had been empty for 30 years. The species is easily disturbed by humans, especially when nesting, and may desert nesting sites as a result. It is found in greater numbers in areas with little or no human impact or interference.
The white-bellied sea eagle is an opportunistic carnivore and consumes a wide variety of animal prey, including carrion. It often catches a fish by flying low over the water and grasping it in its talons. It prepares for the strike by holding its feet far forward (almost under its chin) and then strikes backwards while simultaneously beating its wings to lift upwards. Generally only one foot is used to seize prey. The white-bellied sea eagle may also dive at a 45 degree angle from its perch and briefly submerge to catch fish near the water surface. While hunting over water on sunny days, it often flies directly into the sun or at right angles to it, seemingly to avoid casting shadows over the water and hence alerting potential prey.
The white-bellied sea eagle was important to different tribes of indigenous people across Australia. The guardian animal of the Wreck Bay aboriginal community, it is also the official emblem of the Booderee National Park and Botanic Gardens in the Jervis Bay Territory. The community considered localities around Booderee National Park to be connected with it. A local Sydney name was gulbi, and the bird was the totem of Colebee, the late 18th century indigenous leader of the Cadigal people. The white-bellied sea eagle is important to the Mak Mak people of the floodplains to the southwest of Darwin in the northern Territory, who recognised its connection with "good country". It is their totem and integrally connected to their land. The term Mak Mak is their name for both the species and themselves. The Umbrawarra Gorge Nature Park was a Dreaming site of the bird, in this area known as Kuna-ngarrk-ngarrk. It was similarly symbolic to the Tasmanian indigenous people—Nairanaa was one name used there.
Known as Manulab to the people of Nissan Island, the white-bellied sea eagle is considered special and killing it is forbidden. Its calls at night are said to foretell danger, and seeing a group of calling eagles flying overhead is a sign that someone has died. Local Malay folk tales tell of the white-bellied sea eagle screaming to warn the shellfish of the turning of tides, and a local name burung hamba siput translates as "slave of the shellfish". Called Kaulo in the recently extinct Aka-Bo language, the white-bellied sea eagle was held to be the ancestor of all birds in one Andaman Islands folk tale. On the Maharashtra coast, their name is kakan and its call is said to indicate the presence of fish in the sea. They sometimes nest on coconut trees. Owners of the trees destroy the nest to avoid attacks when harvesting the coconuts.
In my twenties I was on the hunt: sex, money, business, adventure and many other things. I was working as a salesman and was able to sell because of this energy. I have sold houses, antiques and was riding a horse my father gave me. For me this time was very powerful, successful and I enjoyed the money I earned.
This form of energy I call A3. It motivated me doing all these things I just mentioned. I was a hunter, yes, and it felt good and strong until faith said: STOP!
An accident and other circumstances forced me to slow down. My life changed completely and my further years were very much motivated by the opposite form of energy: B3
A3 is extravert
B3 is introvert
This state of mind – business – many thoughts changed into – meditation – and almost no thoughts. I compare both with Samsara and Nirvana. Outside – inside.
HKD
Zwischen zwanzig und dreißig hatte ich meine erfolgreichste Zeit. Auf allen Gebieten kostete ich das Leben aus und führte einen großzügigen Lebensstil. Ich verdiente viel Geld und gab viel Geld aus. Geschäftsideen sprudelten aus mir heraus und ich hatte Spaß am Handel, am Erfolg und am Geld. Ich war ein Jäger und die Jagd machte mir Spaß. In meiner Weltanschauung herrschte das Recht des Stärkeren als oberstes Prinzip denn ich war der Überzeugung, in Wettbewerb und Demokratie müsse man sich mit den besseren Argumenten durchsetzen. Auf der Seite der Starken habe ich diese Ansichten vertreten. Auf der Seite der Schwachen habe ich ganz andere Ansichten vertreten gelernt. Es war ein Wandel von A3 Motivation hin zur B3 Motivation und von da aus wieder weiter…
Ich erlebe meinen Wandel immer bewusster… Was ich an Beschreibungen hier hinterlasse ist lediglich eine Verbalisierung und Konzeptualisierung eines Wandlungsprozesses wie ihn viele Pilger auf ihrer Suche in ähnlicher Weise erleben.
HKD
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
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
—--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
Along "the Golden Circle" in southwest Iceland, outside of Reykjavik. The land of boiling waters...... Geysir is a geothermically active area with steaming vents and mud formations.
Active Canvas presents two Yakshagana performances by "Saligrama Makkala Mela".
Yakshagana(Kannada) - Veera Vrishasena - 15th May 2010 7:00 p.m
Yakshagana(Kannada) -Babruvahana Kalaga - 16th May 2010 11:00 a.m
Venue: H.N.Kalakshetra, National College, 7th Block, Jayanagar
More about Active Canvas:- activecanvas.in/
Thanks to Divya for this oppurtunity :)
Do visit to my blog for the report:
Maker: Olympe Aguado (1827-1894)
Born: France
Active: France
Medium: salt print
Size: 8.9" x 6.8"
Location: France
Object No. 2014.840
Shelf: B-19
Publication: Olympe Aguado (1827-1894), Photographe, exhibtion catalogue. Strasbourg, Musées de Strasbourg, 1998.
Epreuves Choisies, Binoche Renaud Giquello, June 25, 2010, Paris, Lot 41
Other Collections:
Provenence: Estate of the Duc de Luynes
Bassenge Photography Auction 104, December 3, 2014, lot 4002
Rank: 2021
Notes: Studio portrait of the photographer's mother Maria de Carmen Vidoire Moreno (Marquise de las Marismas).
Taken in the studio in Aguado’s apartment in the Place Vendome. Founding member of the Société Héliographique in 1851 and of the Société Française de Photographie in 1856, Olympe Aguado de las Marismas (1827-1894) is a key figure in the photographic world of the second empire. Introduced to Gustave Le Gray by his friend Viscount de Vigier, he is one of his first students to be taught the dry waxed paper negative process. Aguado's work contains some fine examples of calotypes of landscapes. But he is best known for his photographs of staged scenes such as his famous masterpiece "Admiration", real "tableau vivant" upon which five characters, including himself, seen from the back contemplate a picture representing a young Neapolitan girl. He is also responsible for some intimate photographs of the imperial family such as the one in 1856 on the steps of the castle of Compiègne where the Empress surrounded by the court holds in her arms her son Louis aged a few months. Both Aguado and the Empress were Spanish by birth and so he fit in well with the court.
In 1854, together with Edouard Delessert, he proposed putting portrait photographs on the backs of calling cards, which became known as carte-de-vistes, though Eugène Disderi filed the patent for it and became its most famous practitioner.
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