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After much years of petitioning, the University of Newcastle achieved autonomy on January 1, 1965 from the University of NSW. Since then, it is celebrated with great enthusiasm on campus in the second semester of each year.
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Views from around Blackpool during my stay in early July.
Blackpool rose to prominence as a major centre of tourism in England when a railway was built in the 1840s connecting it to the industrialised regions of northern England. The railway made it much easier and cheaper for visitors to reach Blackpool, triggering an influx of settlers, such that in 1876 Blackpool was incorporated as a borough, governed by its own town council and aldermen. In 1881 Blackpool was a booming resort with a population of 14,000 and a promenade complete with piers, fortune-tellers, public houses, tram and donkey rides, fish-and-chip shops, theatres. By 1901 the population of Blackpool was 47,000, by which time its place was cemented as "the archetypal British seaside resort". By 1951 it had grown to 147,000.
Shifts in tastes and sensibilities, combined with opportunities for Britons to travel overseas, supplanted Blackpool's status as a leading resort during the late-20th century. Nevertheless, Blackpool's urban fabric and economy remains relatively undiversified, and firmly rooted in the tourism sector, and the borough's seafront continues to attract millions of visitors every year.In addition to its sandy beaches, Blackpool's major attractions and landmarks include the Blackpool Tower, Blackpool Illuminations, the Pleasure Beach Blackpool, and the Winter Gardens. Blackpool is also noted for its political autonomy, independent of Lancashire County Council.
Fountaine Pajot Queensland 55LC Pleasure of cruising Autonomy, speed, fuel efficient, and smooth ride characteristics are some of the key features of the Fountaine Pajot Queensland 55LC design Designed to cover distances of up to 1200nm on a single stop at the fuel dock Giving the owner of Queensland 55LC the ability to relax in the serenity of the world’s most remote cruising destinations With her EcoCruising package the Queensland 55LC offers a level of self reliance not often seen in a cruising yacht of this caliber Luxurious and refined living spaces The Queensland 55LC boast exceptional living spaces, whether underway on her massive flying bridge, relaxing in the salon, having a meal in the cockpit, or resting below in her private en suite staterooms The flying bridge offers almost 440 square feet of entertaining space with a 360 degree views Equipped with an upper helm station the captain is never far from the action either underway, or at anchor With the wetbar, optional grill, and seating comfortable seating for 10 the flying bridge becomes the focal point for any evening at anchor The cockpit serves as the perfect transitional point from the openness of the flying bridge to the protection and privacy of the salon The cockpit offers dinning for 8, a large sunpad, and ease of access to the water for swimming and other water sports Fountiane Pajot features a unique hybrid dinghy storage systems that blends the sleekness of a tender garage with the functionality of a hydraulic platform
The Ministry of Defence Chief Scientific Advisor, Professor Hugh Durrant-Whyte speaking on a panel about the future of autonomy.
THE AUTONOMY TALKS AT THE ACCADIA HOTEL IN HERZLIYA, WITH PARTICIPANTS FROM THE U.S., EGYPT AND ISRAEL.
ùéçåú äàåèåðåîéä áîìåï àëãéä áäøöìéä áäùúúôåú ðöéâé àøä"á, îöøéí åéùøàì.
The autonomic nervous system (ANS) regulates physiologic processes, such as blood pressure, heart rate, body temperature, digestion, metabolism, fluid and electrolyte balance, sweating, urination, defecation, sexual response, and other processes.
www.news-medical.net/amp/news/20220501/Study-finds-6725-o...
Study finds 67% of individuals with long COVID are developing dysautonomia
In a recent study posted to the medRxiv* preprint server, researchers analyzed the traits of autonomic symptom burden in long coronavirus disease (COVID).
Background
While the global spread of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) infections has slowed, many people suffer long-lasting symptoms, a condition known as post-acute sequelae of COVID 2019 (COVID-19) (PASC), or long COVID. Even though PASC is not widely described, it is most commonly defined as COVID-19 symptoms that continue longer than 30 days.
PASC can manifest as a wide range of symptoms, many exhibiting autonomic characteristics. An autonomic nervous system illness, postural orthostatic tachycardia syndrome (POTS), strongly connected with a prior viral infection, is the most prevalent autonomic diagnosis correlated with PASC. Although autonomic dysfunction is a common consequence of long COVID, the PASC frequency and severity rates remain unclear. Furthermore, while online surveys of PASC patients exist, none have explicitly assessed autonomic symptom load in conjunction with other aspects of the condition.
About the study
The primary purpose of the present study was to determine the incidence and severity of autonomic manifestations in patients with PASC. The authors also evaluated symptom burden in PASC using well-validated questionnaires, which pre-existing comorbidities were linked to a heightened likelihood of autonomic dysfunction, and if the acute COVID-19 severity was correlated with the severity of autonomic dysfunction in this group.
The team performed a global online survey of 2,314 PASC adult patients employing various validated questionnaires, including the composite autonomic symptom score-31 (COMPASS-31), to assess for autonomic dysfunction. Both subjects who tested positive for SARS-CoV-2, i.e., test-confirmed, and those diagnosed with COVID-19 based only on clinical symptoms, i.e., test-unconfirmed, were included in the study. Additional analyses contrasting non-hospitalized and hospitalized individuals were conducted on test-confirmed COVID-19 patients. The researchers examined 53 distinct symptoms over eight different symptom areas to analyze PASC heterogeneity.
Results
The study results demonstrated that there were 87% female participants, higher than earlier studies with 68-75% female patients with PASC. In this adult population research, about 87% of PASC participants were between the ages of 31 and 65, comparable with the age distribution reported in prior studies. The most prevalent symptoms were brain fog, exhaustion, shortness of breath with exercise, headache, palpitations, body pains, tachycardia, and lightheadedness, consistent with previous research that found many of the same symptoms in individuals with PASC.
The test-confirmed SARS-CoV-2 cohort was more probable than the test-unconfirmed group to experience loss of taste and smell. A previous autonomic dysfunction diagnosis was documented in 8.3% of test-unconfirmed COVID-19 patients and 5.1% of test-confirmed patients. POTS was the most often reported autonomic condition, with a prevalence far higher than the expected frequency in the United States (US).
Depression, anxiety, history of vaping or smoking, environmental food or allergies, asthma, hypertension, autoimmune disease history, and obesity were the most often reported pre-existing illnesses in this sample. The frequency of pre-COVID autoimmunity and asthma in the current cohort was far higher than the overall US population, suggesting the potential that these medical disorders might be risk factors for PASC development.
A COMPASS-31 score of above 20 was found in 67% of PASC patients, indicating autonomic dysfunction with moderate to severe. There was no difference in COMPASS-31 scores among test-confirmed non-hospitalized and hospitalized COVID-19 patients. Across all quality-of-life dimensions, both non-hospitalized and hospitalized SARS-CoV-2 patients reported severe functional impairment.
"Our study finds that 67% of individuals with Long COVID are developing dysautonomia. That’s an estimated 38 million Americans with Long COVID dysautonomia, and millions more around the world,” says Lauren Stiles, President of Dysautonomia International and Research Assistant Professor of Neurology at Stony Brook University.
Conclusions
According to the authors, this was the broadest study that used validated autonomic questionnaire scores to show that autonomic dysfunction was frequent in PASC yet available.
In the current sample, the severity of COVID-19 did not link with the degree of autonomic dysfunction, implying that even mild SARS-CoV-2 infections can cause considerable autonomic dysfunction. Furthermore, the autonomic nervous system has a significant role in controlling coagulation pathways and immune function, two factors that seem to engage in long COVID. Hence, the researchers suggest that future research should concentrate on processes of PASC-linked autonomic dysfunction, their correlation to coagulation and immune biomarkers, and potential interventions that can enhance autonomic function.
Overall, the present study findings showed the presence of moderate to severe autonomic dysfunction in all PASC cohorts in this investigation, regardless of hospitalization status, implying that autonomic dysfunction was frequent among the PASC community and not always connected to the severity of acute COVID-19.
"Identifying dysautonomia in Long COVID is important because the autonomic nervous system plays a critical role in regulating immune function, inflammation, coagulation pathways, fatigue, exercise intolerance, cognition, and other factors that appear to play a role in Long COVID. Treatments that improve autonomic nervous system function may offer great benefit in treating the debilitating symptoms of Long COVID," explains Dr. Mitchell Miglis, Associate Professor of Neurology & Neurological Sciences at Stanford University.
"We need the National Institutes of Health to immediately address this crisis and begin funding research aimed at developing effective treatments for Long COVID dysautonomia,” says Jacqueline Rutter, a Dysautonomia International Board Member whose family has been impacted by Long COVID.
she is the designer and the model... yes, it's true... very talented... also a point to be made about this entire shoot... no photoshop was used... also true...
June 24, Philadelphia, PA
Rally June 24 demanding abortion rights, trans rights, and bodily autonomy for all by opposing the anti-abortion “march for life” on the one-year anniversary of the Dobbs decision.
The rally and speakout started at Franklin Square (200 N. 6th St) and then marched to defend patients accessing health care at a nearby abortion provider under threat of anti-abortion fascists.
In the current legislative session, anti-trans and anti-LGBTQ+ bills have been proposed or are advancing in nearly every state. These bills contain measures from bans on gender affirming care to censorship laws prohibiting discussions in schools about LGBTQ+ people. On June 6, the Human Rights Campaign declared a national state of emergency for LGBTQ+ individuals.
Since the Dobbs decision one year ago, fourteen states have implemented complete abortion bans, and several other states have attempted or are still attempting to implement bans. The criminalization of abortion and gender affirming care are attacks on our bodily autonomy and our ability to access necessary health care.
We MUST fight back against these attacks on human rights and the complacency that allows them to continue and escalate.
MRISAR R & D Team Member Autumn Siegel, making robotic parts on drill-press.
Photo taken in New Leipzig, North Dakota by MRISAR Team Member Victoria Croasdell-Siegel.
MRISAR’s R & D Team, who have Designed, Fabricated & Marketed the Earth’s Largest Selection of "Internationally Renowned & Awarded" World-Class Robotics Exhibits & Devices; and “Hands On” Scientific, Technological & Interactive Art Exhibits. Our innovative, interactive, inexpensive, durable & easy to maintain creations incorporate interactive technologies & designs for people with disabilities and other special needs. They also provide their own Educational Kits & Materials for K thru 12/College & University level curriculums.
Their Exhibit Sales Customers include World-Class Science Centers, Museums, Universities, NASA, Royalty, Foreign & Domestic Governments, the Film Industries for inclusion in media productions, etc. We specialize in Cybernetics, Bionics, Mechatronics, Autonomics, Animatronics & Teleoperated devices.
Their Humanitarian & Environmental Research & Development has been presented before and/or published and awarded by: the United Nations, NASA-Emhart, Stanford, Cambridge, ICORR, ROMAN, IEEE, Discover Awards, International Federation of Robotics (IFR), etc. Their 1990's circa, original innovative R & D in "Facial Feature Controlled Technology" and "Artificial Sense of Touch Technology" (Adaptive Technology prototypes for the disabled), has helped pioneer those fields! They were the only company in the world to be awarded an entire chapter regarding their work in the International Federation of Robotics (IFR) “World Robotics; Service Robotics, 2011”.
In 2010 MRISAR purchased a disused school on the plains of North Dakota and relocated to it. Profit from their International Exhibit Sales helps fund their Humanitarian R&D and the transformation of the 36,000 sq. ft. complex, surrounded by 10 acres in North Dakota, into a World-Class “Interactive, Robotics, Technology, Invention, Art & Nature Center”.
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From Patriarchal 'Protection' to Freedom and Autonomy Rapists' and 'We wantJustice', the streets soon started reverberating with the battle-cry tor 'behaufazadi'-azadifrom We in JNU are witness to the fact that in the days and months after 16 December 2012, how from the slogans 'Hang the .
azadi, baap se bhi, khaap se bhi. It was a battle-cry for freedom without fear for all. To the consternation of many, it .
marked a paradigm shift from the from patronising framework of vengeance and patriarchal'protection' for women to the sexual violence, gender discrimination, state sponsored rapes and from the patriarchal establishments: Haame Chahiye .
In a way, this heightened assertion sent chills down the spines of the entrenched patriarchal forces in our notion of 'freedom' and 'autonomy' for women. patriarchal norms of what is 'right' and what is not. Several voices once more attempted to reinforce the status quo, a society, who seek to control the movement and choices not just of women, but of anyone who 'dares' to challenge .
status quo where young men and women had no right to make choices concerning love, marriage, relationships and dress, .
where a woman's consent orthe lack of it was of no consequence. In the midst of the raging protests, we saw several .
'powerful' people-ruling class politicians to 'godmen' alike-telling us thatrapes happen onlyin westernised 'India' .
.~ .
and not in 'Bharat', that too onlyto women who dress 'inappropriately'and who have the temerity to think that they are tree .
~ .
( = to walk in the streets at any time of the day or night!! .
This discourse of patriarchy, this attempt to push back democratic concerns of gender justice and equality, .
continues in many ways, even in a campus like JNU which prides itself on its democratic culture. In the past one .
I .
institution of GSCASH and the values it stands for. And moreover, the fact remains that GSCASH is one of the most .
understaffed and underfunded bodies in JNU. Even as GSCASH battles these assaults from the administration, withinthe year, we have seen GSCASH verdicts being ignored, undermined and diluted; we have seen vicious attempts to vilify the .
student community too, we see attempts to push back the discourse for gender justice. For instance, just a couple of days ago, we saw a 10-page folderdistributed in various messes, parroting several of the myths and patriarchal norms that 1 we continuously fight against. Therefore, as the GSCASHelections approach, we needto yet again remindourselves of .
1Hang the Rapists'and 1Keep Potential Victims Behind Closed Doors': Confronting the Different .
exactly whatGSCASHand the fight forgenderjustice stands for. .
The battle for gender justice has often been reduced by patriarchal 'commonsense' to a battle for 'protection' of women. And so, we are told, if women are to be 'safe', they need to be constantly careful of what they do: where they .
Faces of Patriarchy! go, when they go, with whom they go, what they wear, what they say. Transgress these codes, women are warned, .
and face the consequences. In other words, women's 'safety' becomes a codeword for controlling women. Along with .
On the other hand, the women's movement along with tlie broader democratic movement, has constantly argued that this discourse of 'safety' and 'protection' o'f women, we also often see the issue of gender justice being reduced to .
the real solution to counter sexual violence lay not in awarding the death sentence but in painstakingly confronting the demand of death penalty for the rapists. Hang the rapists, we are told, and we will have a safe world forwomen! .
the rape culture of patriarchal biases and policing o'f women in the name of 'safety'. This combination of 'hang the .
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rapists' and 'protection' of women by shutting them up and designing elaborate codes for their safety, thus has to be .
rejected. What is needed is not 'protection' but freedom. Apartfrom its inherent agenda of policing and controlling women, 'protection' also implies the PROJECTION of .
Politics of 'Protection' and Profiling the 'Other' from whom women need protection. In the wake of the December 16 rape, it was easy to profile slum-.
from rural areas represented the 'menace' that gave urbanisation a 'monstrous shape'. This demonising of the urban poor .
as a potential murderer. Following the Mumbai gang rape in which several of the accused were Muslim slum~dwellers, thedwellers as the source of the fear of rape. About 1odays after the rape, the Prime Minister of India said 'footloose migrants' .
was yet again reflected in a recent Delhi Police advertisement, which painted a little boy from an urban poorbackground .
Shiv Sena and MNS began a vicious campaign suggesting that 'Bangladeshi' migrants were responsible for rape. .
In Dharmapuri district of Tamilnadu, we witnessed vicious anti-dalit violence, orchestrated by the Leaders of th~ Pattali .
1 .
Makkal Katchi and its front the Vanniyar Sangham-who easily portrayed young Dalit men wearing jeans, T-shtrts and Vanniyar caste. 'Protecting' Vanniyar girls from 'predatory' 'sexualised' Dalit men of course also involvespreventtng .
sunglasses, riding motorcycles and wielding mobile phones as 'predators' staging 'lovedramas' to lure girls of ~he .
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.
Walter Teubl
Filmvorführung und Diskussion
Montag, 10.05.2010, 19.30 Uhr
TheSoundTheatre
Eine Welt-Gemeinschaft, deren Energieversorgung zu 100 Prozent aus erneuerbaren Quellen gespeist ist – für jeden erreichbar, bezahlbar und sauber. Eine globale Umstrukturierung, die Machtverhältnisse neu ordnet und Kapital gerechter verteilt, könnte jetzt beginnen. Wir müssen es nur tun!
Nach dem Film Diskussion mit:
Rudi Anschober, Landesrat für Umwelt, Energie, Wasser und KonsumentInnenschutz
Mag. Norbert Rainer, Klimabündnis OÖ
Eine Veranstaltung in Kooperation mit der Grünen Bildungswerkstatt OÖ und dem Programmkino Wels
Fountaine Pajot Queensland 55LC Pleasure of cruising Autonomy, speed, fuel efficient, and smooth ride characteristics are some of the key features of the Fountaine Pajot Queensland 55LC design Designed to cover distances of up to 1200nm on a single stop at the fuel dock Giving the owner of Queensland 55LC the ability to relax in the serenity of the world’s most remote cruising destinations With her EcoCruising package the Queensland 55LC offers a level of self reliance not often seen in a cruising yacht of this caliber Luxurious and refined living spaces The Queensland 55LC boast exceptional living spaces, whether underway on her massive flying bridge, relaxing in the salon, having a meal in the cockpit, or resting below in her private en suite staterooms The flying bridge offers almost 440 square feet of entertaining space with a 360 degree views Equipped with an upper helm station the captain is never far from the action either underway, or at anchor With the wetbar, optional grill, and seating comfortable seating for 10 the flying bridge becomes the focal point for any evening at anchor The cockpit serves as the perfect transitional point from the openness of the flying bridge to the protection and privacy of the salon The cockpit offers dinning for 8, a large sunpad, and ease of access to the water for swimming and other water sports Fountiane Pajot features a unique hybrid dinghy storage systems that blends the sleekness of a tender garage with the functionality of a hydraulic platform
Purpose, Autonomy, and Mastery are the true recipes for a highly motivated team according to Dan Pink, author of ‘Drive’ – and virtual teams more than any other kind of team need these to work well.
This project is part of the Ars Electronica Garden Grenoble. By presenting the spectator with choices, Migration – Sunshine Architecture explores the idea of energy autonomy while questioning our apparent ease of access to it. To reconsider our relationship with energy and its consumption, it is interesting to present energy as a limited, thereby precious, resource. This exercise is not about casting blame, but about raising awareness of energy consumption. If energy is limited, what should we use it for? The installation incorporates flexible solar panels, which can be spread throughout the city according to its changeable energy needs, to make the expansion of various activities and their energy consumption physically visible.
For more informations please visit:
ars.electronica.art/keplersgardens/en/energy-autonomy/
Credit: Pierre Jayet
This project is part of the Ars Electronica Garden Grenoble. By presenting the spectator with choices, Migration – Sunshine Architecture explores the idea of energy autonomy while questioning our apparent ease of access to it. To reconsider our relationship with energy and its consumption, it is interesting to present energy as a limited, thereby precious, resource. This exercise is not about casting blame, but about raising awareness of energy consumption. If energy is limited, what should we use it for? The installation incorporates flexible solar panels, which can be spread throughout the city according to its changeable energy needs, to make the expansion of various activities and their energy consumption physically visible.
For more informations please visit:
ars.electronica.art/keplersgardens/en/energy-autonomy/
Credit: Pierre Jayet
A home-made dress (with petticoats) on loan from the neighbors, the silky hooded cape, and sunglasses against the glare. I could not have done better myself. In fact, I would like to point out that I had nothing to do with this outfit whatsoever.
.
Vote Support and Elect Abhiruchi Ranjan as your representative to GSCASH.
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17.3.13 From the Paradigm of `Modesty' and `Protection' to Freedom,.
Autonomy and Consent : Respect Women's Autonomy! Respect Her.
Seen the latest Tata Sky ad?.
Right Over Her Own Body and Mind, and Her Right to Say NO!.
.
A young man builds up towards asking his male friend if he can take the latter's sister out to dinner. There is a tense silence as.
the sister (sitting demure and silent with downcast eyes) and the young man wait for the brother's rage to explode. Then the.
.
brother says gruffly, "Yes, but bring her back before 10 pm." The `humour' in the ad draws from the possibility of the brother's.
.
violent rage. What is it that makes us, as a society, consider such situations perfectly `normal'? Why is it part of our.
.
everyday lives that women have to be constantly `protected' by guardians, they have to ask permission to go out for dinner.
with friends, to choose partners, to choose careers..
.
A spurned lover makes a video film of his girlfriend, on the sly in the act of love, in order to avenge her refusal. Morality of the girl.
in the footage became coffee table conversation in Jawaharlal Nehru University even as some of us were taking vicarious.
pleasure in watching the tape in private. This, despite the fact that the guy who shot it, was in the same footage. W omen are the.
objects of desire, at the same time, `morality and chastity'. W omen on campus have often been asked to sign in when they enter.
the boys hostels, fined for staying back over-night, chastised by the security guards over their `modestly' while sitting in public..
.
Women are constantly told that for the sake of their `protection', they cannot venture out in the evenings, they cannot dress the way.
they like, they have to keep seeking `permission' for anything they do even when they are adults perfectly capable of making.
choices for themselves. For millions of women, every single important choice in life is mediated and controlled in the name of.
`protecting' their `safety and honour'..
.
What exactly is this `raksha'? Is this `raksha' - this protection by families, brothers, fathers, mothers and cousins - just a show.
of love and care? The Tata Sky ad reminds us that `raksha' is more than a bond of affection. Let us recall how the young journalist.
Nirupama Pathak was brutally killed by her family (ostensibly with the help of her mother, father and uncle) because she dared to.
choose a partner. In the past few months there have been any number of instances from different states of brothers chopping off.
the heads of their sisters (because the latter had a sexual relationship of which the brother disapproved). The Tata Sky ad doesn't.
seem that funny anymore when you recall how two brothers killed Nitish Katara for daring to love their sister. This `raksha' is.
clearly not a protection of freedom, choice and autonomy..
.
Think of the Government's move to raise the age of consent from 16 to 18, in the context of families, vahinis and khaap.
panchayats. If the age of consent were to be 18, and consensual relationships of young people between 16-18 to be automatically.
criminalised and branded as rape/sexual violence. With third parties allowed to file statutory rape complaints, every possessive.
family, khaap panchayat or `moral police' brigade will use the law to get the girl's male classmate/friend/boyfriend arrested for.
rape and sexual assault! The more so if the boyfriend in question is from a dalit/oppressed caste background while the girl is not..
.
What kind of `sensitisation' does GSCASH (and other institutions outside JNU) need to do?.
.
In the name of `gender sensitisation', Gillette runs an ad asking men to be `soldiers' to protect women. It's another matter that.
actual `soldiers' often sexually assault women, and men who believe they have to `protect' women end up policing her own.
freedom, like the protective brother in the ad! In fact protection is nothing but deployment of patriarchal control over women..
Women's freedom lies in freedom from control of bearing the patriarchal burdens of `modesty', `purity' and `honour'. Sensitisation.
isn't about teaching some abstract concepts of gender justice. Sensitisation is actually a project of `unlearning' what society.
teaches us about gender. Perhaps the most important lesson of sensitisation has to be the one of autonomy..
.
Parents, families and friends have to learn the difficult lesson that they have neither right nor duty to be women's `guardians'..
That women have every right to have friends, wear clothes, go where they wish, without seeking `permission' from brothers,.
fathers and families!.
.
Sex education in schools must of course teach the basic biological facts about sex, as well as the basic lessons of sexual.
health. But far more important is the lesson of autonomy over one's own body. We need structured programs where men are.
taught to respect women's sexual autonomy and women are made aware of their right over their body and consent..
.
Girls need to learn that their bodies are their own: not to be handed over by parents in marriage over to the husband. Women.
have the right to say no, even withdraw consent, in "committed relationships". Everyone should learn to take NO from friends.
and partners, without behaving self-destructively and violently, without inflicting unwanted `love,' threats or violence on the.
person who says NO!.
.
Some Concrete Steps for Campus to Resist Protectionism and Surveillance.
.
Campus security needs to stop monitoring, disciplining and interrogating couples sitting out late in the night by flashing torches.
in their faces, or women visiting men's hostel rooms..
.
It should be ensured that security personnel and hostel wardens do not think it is their `job' to maintain vigil over women's.
`moral' conduct..
.
CCTV cameras used as a tool for surveillance, infringement of privacy and enforcement of patriarchal codes need to be done.
away with..
.
The mandatory gender orientation programme started last year must be enriched and broadened in consultation with the.
Centre for Women's Studies by introducing lecture modules/courses in various centres to expand the reach of the gender.
discourse across disciplines and centres in JNU. Based on the resolutions of SSS Board of Studies steps have already been.
initiated in this direction..
.
In keeping with this (and along with several crucial issues for the GSCSAH I have detailed in other leaflets), I propose that.
the GSCASH in JNU develop a module for workshops on masculinity, autonomy, and sexual harassment with the help of.
filmmakers, theatre persons, activists and academicians. This module, using interactive tools and literature (leaflets/.
.
folders etc) can be used in JNU in future, for every class/centre.- Abhiruchi Ranjan, candidate for GSCASH.
..
Light over Sea and Land – The Önningeby Colony on Åland
waldemarsudde.se/en/exhibitions/light-over-sea-and-land-t...
Joining the year-long centenary celebration of the autonomy of the Åland Islands, Waldemarsudde will host the first ever Swedish exhibition featuring the nineteenth century artist’s colony at Önningeby on Åland, a highly interesting but often overlooked group. Active from 1886 until 1914, the colony was made up of mostly Swedish, Finnish and Estonian artists. This exhibition highlights many of the Swedish and Finlandic Önningeby painters’ most important works depicting the island’s rural landscape and the Åland archipelago, along with portraits of their artist friends and photographs from life in the community.
The artists represented here include J.A.G. Acke, Ida Gisiko-Spärck, Anna Wengberg and Edvard Westman from Sweden, and Victor Westerholm, Elin Danielson-Gambogi, Hanna Rönnberg, Ellen Favorin, Amélie Lundahl, Eva Acke, Elias Muukka and Helmi Sjöstrand from Finland.
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”Second to the arts, I think flowers are my greatest joy,” Prince Eugen wrote in a letter in 1901.
A visit to the beautiful park and garden at Waldemarsudde is a treat for many senses and offers more than a century old garden history. The design of the garden determined by Prince Eugen, is still managed according to the Prince’s instructions and directions. The park is also rich in sculptures, all of them bought by Prince Eugen, often with specific sites in mind.
Prince Eugen was an art collector of note, with special emphasis on Nordic and French art. The Collections number around 7,000 works and comprise painting, sculpture and crafts objects. The Painting Collection includes works by Ernst Josephson, Anders Zorn, Julia Beck, Isaac Grünewald, Sigrid Hjertén and Sven X:et Erixson. International artists such as Edvard Munch and Auguste Rodin are also represented. Throughout the year, a selection of Prince Eugen’s own art and works from the Collections, are on display.
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Prince Eugen's Waldemarsudde (Swedish for Cape Waldemar), is a museum located on Djurgården in central Stockholm. The name is composed of Waldemar, an Old German noble male name, and udde, meaning cape. It is derived from a historical name of the island Djurgården, Valmundsö.
It was the former home of the Swedish Prince Eugen, who discovered the place in 1892, when he rented a house there for a few days. Seven years later he bought the premises and had a new house designed by the architect Ferdinand Boberg, who also designed Rosenbad (the Prime Minister's Office and the Government Chancellery), and erected 1903–1904.
Prince Eugen had been educated as a painter in Paris and after his death the house was converted to a museum of his own and others paintings. The prince died in 1947 and is buried by the beach close to the house.
The complex consists of a castle-like main building—the Mansion—completed in 1905, and the Gallery Building, added in 1913. The estate also includes the original manor-house building, known as the Old House and an old linseed mill, both dating back to the 1780s. The estate is set in parkland which features centuries-old oak trees and reflects the prince's interest for gardening and flower arrangement. The Art Nouveau interior, including the cocklestoves, by Boberg are designed in a Gustavian style and makes good use of both the panoramic view of the inlet to Stockholm and the light resulting from the elevated location of the building.
en.wikipedia.org/wiki/Waldemarsudde
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Friends .
' Imperialism is the economic, political, military and cultu-al dcmination of a ruling. pow~r?ver those under its .control. Economica!~y, the new means of production and natural resources of the wodd an:: controlled by the rmpenahst powers and nothrng by those under rts .
subjugation. Cultural reflection of imperialism takes place in the form of education and training whereby a feeling of self-reliance and autonomy pervades in the metropolis while a feeling of dependency runs through satellites. Today, the IMF-World Bank and the M.N.C.s wh:ch are under the facade of being not under the control of any power, are in fact operating as a tool in the hands of imperialism to super-impose the wishes of the advanced countries over the poor countries, be it in the sphere of industry, agriculture, commerce or education and health. The military prowesses of imperialisrn come into actron, for those who dare to resist IMF-WB dictates. In today's context the .
biggest imperial power on earth, which is U.S.A., is leading the cnslaught against the third world countries in the name of globalization, .
regime change and democracy. From Latin America to Sub-Sahara to the Central Asia, U.S. wants to expand its empire in search of oil, gas and other resources. West Asia is already struggling agaim·t IJ.S. military hegemony and economic dictates; and Israel's Zionist policies which go hand in glove with U.S. imperialist interests. . . .
In the past. in the .v2ke of the World Wars and the Sykes-Picot accord, the British and French divided the West-Asian nationalities .
ir:(o .jifferent territories and hundreds of tribes cc:me to be known as j ribes with flags. In t~e long battle for British supremacy hundreds c7 thousands of people in the West Asia were butchered under the yoke of British imperialism. Later with the discovery of oil the face of West ~sia changed and hence the imperial designs. Earlier, British had Builion to support their currency now the Americans need oil to support .
their dollar. West Asia is the main energy producing region of the world and for U.S., strategic power like Iraq is central to it. Iraq's oil .
capacity is next to Saudi Arabia. To control Iraq is to be in a position to determine the prices and production levels, to split OPEC and to use this power in U.S global strategy in days to come. .
It is for oil politics and domination in the region that time ancl again U.S. has tried to dismantle the progressive/secular regimes in West Asia and elsewhere in the world. The case of invasion of Iraq is one of the many American shenanigans in West Asia. Since 1991 , despite its best efforts by using U.N. sanctions, no fly zones, WMD inspections, daily US-UK bombings and support to anti-Iraqi forces, the .
U.S. failed to take complete control of Iraqi oil. However, the sanctions resulted in the deaths of millions of children and aged people due to .
lack of basic amenities and essential medicines since 1991. When the sanctions failed to serve U.S. purpose, ultra-right groups in the U.S. .
politics and security establishment called for an attack on Iraq to secure U.S. global military supremacy and legitimising use of pre-emptive military. force to defeat any challenge under the pretext of so called regime change. These all are linked with the U.S. aim to act as the unchallenged supreme power in the oil rich region of West Asia to maintain its domination on the world economy through the control of oil. In this regard Iraq is only the beginning, the ultimate goal of the US bei;,g redrawing the map of West Asia to suit its imperialist designs. In .
this endeavour to gain world power, the so called American Operati0n 'Iraqi Freedom' has led to annihilation of Iraq's sovereignty and dignity along with the death of thousands of innocent civilians. Although the war on Iraq is primarily for oil, but not only for oil. P1e war on 1raq is also a model that the US wants to lay down before the third world if its dictates are not followed. ln \his sense, the movement against the war on Iraq is also a battJe to s2ve the sov3reif.ulty oi ali th8 third world countries. In this light the resistance movement in Iraq .
I.
becGmes c:!! t!·,e more important. In spite of the US having the deadliest war machinery in the historv of mankind, the pecple of Iraq are .
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putt1ng up one of the bravest resistance to colonial forces in recent history falsifying the US justification of the invasion of Iraq in the name .
of \viii of the people'. .
The people of Palestine on the other hand have been subjected to untold misery by the Israeli occupation army for decades with support from the US. Balfour declaration and the final creation of Israel in the heart of West Asia were in conformity with the imperialist d~si~ns of th~ capitalist powers. After successive Arab-Israeli wars since 1948, Israel has usurped all the Palestinians land, Egyptians ~tna1 and Synan Goalan Heights. Palestinians after the creation of Israel and 1967 war became the people without their homeland. In 1967 ttself 3,80,0~0 people were rendered refugees. After successive wars lakhs of Palestinians have been forced to migrate to the distant lands of West.Asra. In 1982, at Shabra and Shatila in Lebanon Israeli tanks surrounded these Palestinian camps and annihilated the trace of hum?n ll~e f~~m there. Israel time and again violated all the laws and different agreements on the question of Palestinian. U.N. resolution of 242 rs st1ll b1ting the dust. America whose writ runs on Israel never pressurized it to concede the Palestinian lands. Even today the largest amount of money which comes through world Zionist organization to Israel is collected from U.S. for the suppression of Palestinian .
lntifeda. .
American imperialist game plan in West Asia is in consonance with larger American perspective for the world, which wants to make the world nations as subservient to it. The resistance forces of Iraq and Palestine represents will of the majority of the people of the .
The people of India have always stood in solidarity with the struggling people of Iraq and Palestin~. a.
earth opposed to ~S imperi~lism..
shamele~s aberratron to whrch was committed by the erstwhile NDA Government by building up better ties with Israel. As consctous.
.
' and fight for a w~rld.
progresstve stu~ents of this country, our aim should be to express solidarity with the people of Iraq and Palestine.
US imperialism. Today, we invite you all to stand ;n solidarity with the struggling people and enrich our understandingorder overth~o,~mg..
on US tmpenaltsm morder to defeat it in the coming days. .
Sd-/ Sd-/ .
Parimal Maya Sudhakar, Secretary, SFI-JNU Subhanil Chowdhury, President, SFI-JNU .
5TH E.M.S. MEMORIAL LECTURE .
'U.S. IMPERIALISM IN WEST ASilL IRAQ AND PALESTINE' .
by Prof. AIJAZ AHMAD Chair: Prof. PRABHAT PATNAIK .
Tonight, 20-01-05 TV ROOM, TEFLAS 8.45PM .
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Barcelona, July 10
The 2010 Catalan autonomy protest was a demonstration in central Barcelona on 10 July 2010 against limitations of the autonomy of Catalonia with Spain, and particularly against a recent decision of the Spanish Constitutional Court to annul or reinterpret several articles of the 2006 Statute of Autonomy of Catalonia.
On the day the U.S. Supreme Court overturned Roe v. Wade, demonstrators gathered outside the county courthouse in downtown Laramie, Wyoming.
Upper Silesia is a region in south of Poland with its own language and culture.
The march was organized by The Silesian Autonomy Movement . It took place in Katowice, on July 17th
Poradzymy!
Andrea Graziano Skype Lecture at the Parametric Autonomy Workshop- Dynamic Uses of Space and Time
Fall 2009
amorphica.com/autonomia09.html
Post-graduate Workshop given in Ensenada, Baja California - Universidad Iberoamericana
Light over Sea and Land – The Önningeby Colony on Åland
waldemarsudde.se/en/exhibitions/light-over-sea-and-land-t...
Joining the year-long centenary celebration of the autonomy of the Åland Islands, Waldemarsudde will host the first ever Swedish exhibition featuring the nineteenth century artist’s colony at Önningeby on Åland, a highly interesting but often overlooked group. Active from 1886 until 1914, the colony was made up of mostly Swedish, Finnish and Estonian artists. This exhibition highlights many of the Swedish and Finlandic Önningeby painters’ most important works depicting the island’s rural landscape and the Åland archipelago, along with portraits of their artist friends and photographs from life in the community.
The artists represented here include J.A.G. Acke, Ida Gisiko-Spärck, Anna Wengberg and Edvard Westman from Sweden, and Victor Westerholm, Elin Danielson-Gambogi, Hanna Rönnberg, Ellen Favorin, Amélie Lundahl, Eva Acke, Elias Muukka and Helmi Sjöstrand from Finland.
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”Second to the arts, I think flowers are my greatest joy,” Prince Eugen wrote in a letter in 1901.
A visit to the beautiful park and garden at Waldemarsudde is a treat for many senses and offers more than a century old garden history. The design of the garden determined by Prince Eugen, is still managed according to the Prince’s instructions and directions. The park is also rich in sculptures, all of them bought by Prince Eugen, often with specific sites in mind.
Prince Eugen was an art collector of note, with special emphasis on Nordic and French art. The Collections number around 7,000 works and comprise painting, sculpture and crafts objects. The Painting Collection includes works by Ernst Josephson, Anders Zorn, Julia Beck, Isaac Grünewald, Sigrid Hjertén and Sven X:et Erixson. International artists such as Edvard Munch and Auguste Rodin are also represented. Throughout the year, a selection of Prince Eugen’s own art and works from the Collections, are on display.
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Prince Eugen's Waldemarsudde (Swedish for Cape Waldemar), is a museum located on Djurgården in central Stockholm. The name is composed of Waldemar, an Old German noble male name, and udde, meaning cape. It is derived from a historical name of the island Djurgården, Valmundsö.
It was the former home of the Swedish Prince Eugen, who discovered the place in 1892, when he rented a house there for a few days. Seven years later he bought the premises and had a new house designed by the architect Ferdinand Boberg, who also designed Rosenbad (the Prime Minister's Office and the Government Chancellery), and erected 1903–1904.
Prince Eugen had been educated as a painter in Paris and after his death the house was converted to a museum of his own and others paintings. The prince died in 1947 and is buried by the beach close to the house.
The complex consists of a castle-like main building—the Mansion—completed in 1905, and the Gallery Building, added in 1913. The estate also includes the original manor-house building, known as the Old House and an old linseed mill, both dating back to the 1780s. The estate is set in parkland which features centuries-old oak trees and reflects the prince's interest for gardening and flower arrangement. The Art Nouveau interior, including the cocklestoves, by Boberg are designed in a Gustavian style and makes good use of both the panoramic view of the inlet to Stockholm and the light resulting from the elevated location of the building.
en.wikipedia.org/wiki/Waldemarsudde
...
June 24, Philadelphia, PA
Rally June 24 demanding abortion rights, trans rights, and bodily autonomy for all by opposing the anti-abortion “march for life” on the one-year anniversary of the Dobbs decision.
The rally and speakout started at Franklin Square (200 N. 6th St) and then marched to defend patients accessing health care at a nearby abortion provider under threat of anti-abortion fascists.
In the current legislative session, anti-trans and anti-LGBTQ+ bills have been proposed or are advancing in nearly every state. These bills contain measures from bans on gender affirming care to censorship laws prohibiting discussions in schools about LGBTQ+ people. On June 6, the Human Rights Campaign declared a national state of emergency for LGBTQ+ individuals.
Since the Dobbs decision one year ago, fourteen states have implemented complete abortion bans, and several other states have attempted or are still attempting to implement bans. The criminalization of abortion and gender affirming care are attacks on our bodily autonomy and our ability to access necessary health care.
We MUST fight back against these attacks on human rights and the complacency that allows them to continue and escalate.
IV Autonomy March took place on July 17 2010 and was the initiative of Silesian Autonomy Movement. As every year, the manifestation was to express the unity of the Silesian people and the desire to obtain a limited economic and cultural autonomy within the Polish state.
More info at marszautonomii.pl
See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
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0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
---
Interesting publication for researches on running and art
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See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
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0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
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Interesting publication for researches on running and art
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
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Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
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Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
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Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
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Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
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