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Comment interprétez-vous cette tache ???
Evaluation psychologique de la forme (Gestalt) par Hermann Rorschach (1921)
Voir les 10 planches de ce test sur :
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8 Comments on Instagram:
johannazambrano: #goldengate #goldengatebridge #bridge #sanfrancisco #california #instagramhub #instagramers #instagroove #instadaily #instamood #instagood #instago #inkstagram #insta #instadaily #igdaily #igaddict #igmania #jj_forum #pictureoftheday #picoftheday #photooftheday #scatti_italiani #foto_italiane #phototag_it
johannazambrano: #master_pics #igermasters #gmy #webstagram #bestoftheday
dreamfaerie: This doesn't look too scary to walk on like I thought it would be...
johannazambrano: @dreamfaerie It's too exciting to walk on it!!! I loved so much to do it! 😉
guyparis: Thanx for all your likes 🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏
johannazambrano: @guyparis 😉😊
couchpotatoechip: Great town :)
johannazambrano: @couchpotatoechip You're right! Wonderful city! 😘😉
Good size Brown Bear crossing McNeil river falls. The pictures in the essay are in the first comment.
The sow brown bear, weighing in at roughly 700 pounds was standing in the foaming icy waters of the falls of an Alaskan coastal river transfixed upon unseen motions in the water below her. Suddenly, she rapidly danced about, dipped her head in the water and came out with a 12 pound chum salmon in her jaws. The sudden motion and the new flapping of the salmon drew the attention of an even larger boar brown bear. He lunged at the sow and she took off at a sprint. She ran across a series of boulders separating various channels of the river to a game trail that led to her desired cover to hide from the boar and eat her fish in peace. The only problem, I was seated in the middle of that trail; I stood up to announce my presence to the rapidly approaching bear. By the time I made it to my feet, she was a mere 3 feet away. Traditional myth has me in a very bad place; however, a most amazing thing happened. She skidded to a stop, looked up at me with soft brown eyes and a submissive expression that seemed to suggest, “sorry to bother you”. Then she looked at my feet and slowly eased around me close enough to hear her breath. Once by me she continued her retreat into the underbrush.
Brown Bear with chum salmon comming accross the falls.
While this may sound like the start of a thriller of some amazing Alaskan Bear tale or that I might be the luckiest guy around, it is McNeil River in Alaska. The State of Alaska has, for over 30 years, taken up to 10 tourists a day to the falls to observe the politics of the bears at the falls jockeying for position at the best fishing locations and has never had an injury caused by a bear, according to Larry Aumiller, one of our guides at McNeil River. He did tell of some who had heart trouble and had to be flown out. From the heart rate that I encountered while face to face with that sow, I found the heart trouble part of the story easy to believe. However, at the end of our 4 days, with similar encounters happening several times a day, I came to also believe the bear part of the story.
Boar with a fish!
Subadult siblings watching the politics of the big bears on the falls.
While many creeks and rivers in Alaska have salmon, not many have the combination of salmon and falls that concentrate the salmon such that the bears are better enabled to catch salmon that have not spawned yet. Salmon entering fresh water cease eating and undergo changes to enable them to spawn but also signaling their death as they commence living on their stores of energy in fat and muscle rendering them less nutritious. McNeil River and Mikfik Creek flow into McNeil Lagoon, a tidal estuary, which is separated by a spit of sand from Cook Inlet. Within a mile or so of the lagoon, both drainages have a small set of falls that impede the annual migration of salmon following their own cycles to come back to the stream of their birth to mate and die. The salmon are slowed by the falls, gathering in the pools directly beneath, and are vulnerable to being caught by the bears. The run of red salmon begins in June at Mikfik Creek. As a result, June visitors to McNeil River State Park are taken to the falls of Mikfik Creek to see its spectacle of bears. However, the stream, the falls and the salmon run are all smaller; therefore, Mikfik never gets the concentration of bears that occurs in July when the red salmon run wanes and the run of chum salmon begins on McNeil River. In July, visitors are treated to the largest concentration of bears in the world fishing for spawning chums. In August, after the chums stop returning, the bears begin fishing below the falls for the spawned out chums.
My own personal McNeil experience actually started some 10 years ago when my wife convinced me to move to Fairbanks, Alaska. Once here, we started on a quest to see Alaska, which has taken us from the northern most point at Point Barrow, to the southern temperate rain forests. One place that hit her radar early was McNeil River. Unfortunately, McNeil is not a place you make reservations and go. The popularity of the place and the need to keep the groups small has led to the institution of a lottery for selection of the 180 or so people that get to go each summer. Every year, a month or so after we sent in our application we would get a letter thanking us for the $50 application fee and advising us that we did not get to go. This year, when the time came to submit our application the duty of sending in our annual contribution to the State Game and Fish department fell to me. I went directly to the dates with the lowest chance of a permit and the highest numbers of bears. After all if you win the lottery, you want to win big – right? Well, I won big and we were granted the opportunity to go to McNeil in July.
In July we were off to Homer to connect with Beluga Air, one of the charter operators flying to McNeil. Our 3:00 pm departure from Homer greeted us with blue skies, warm temperatures and no wind. The one hour and fifteen minute flight to McNeil Lagoon was wonderful: we noted two humpbacks and a pod of dolphins in Cook Inlet and then were greeted with wonderful views of Augustine Volcano. As we approached the shoreline at a distance of 10 miles or so, I could see two drainages and the one to the right had falls; as I looked closer, the falls had spots in it. Bears! Lot’s of em. The approach to land at the lagoon took us right over the falls and we could see the gravel viewing pads as well as 20 or so bears all within close proximity of the viewing pad. My excitement level was now pretty high.
After landing, we had to lug our gear across the spit and up to the campground, I was now glad we were limited to 75# apiece. Once we had relocated our stuff, we were given a half hour orientation on the issues of the campground at McNeil. Most instruction, of course, centered on the bears and the fact that for 30 years the staff at McNeil have been habituating the bears to the presence of humans so they know what to expect and avoid confrontation. The rule that surprised me the most was: outside the alders that make up the campground is bear territory so give the bears the right of way; inside the alders is human territory so step forward toward the bears, shout, throw rocks, do whatever it takes to convince the bear he is in human territory. We pitched our tent, stored our food and toiletries in the cook shack and went for a walk on the spit. We saw 10 bears fishing in the lagoon (at low tide the lagoon empties and McNeil River and Mikfik creek flow thru the area), and another 5 bears clamming in the mud flats. I took lots of photos with the closest bear at a range of 200 yards or so. Little did I know that the next night I would waste no frames on bears so far away.
Our first close bear encounter happened early the next morning, a sow and 3 cubs came into camp and were startled by a fellow visitor, who was up early. Unfortunately she spooked all 4 bears into my tent site. I quickly awoke to the sound of thundering paws, lots of woofing and barking, and my tent rapidly shaking from two bears on each side of my tent brushing it as they ran past. Needless to say, my adrenaline levels were sufficiently high that further sleep was out of the question, so I took a walk on the spit and was greeted with a wondrous sunrise with Mt. Saint Augustine Volcano in the foreground. It was pretty enough, that I was almost ready to forgive the rude awakening.
Sow and 3 large cubs that woke me by shaking the tent as they ran past.
The sunrise they got me up to see.
Each day about 10 am, we launched from the campground: 8 novice tourists and our Fish and Game guide for the day. It was explained that bear activity generally picks up in the afternoon, and the bears are most active from 3 pm to 10 pm, and that the actual departure is dependent on the tides. We were fortunate the tide was out so we could walk across the lagoon in the morning and then the small open boat from the campground would come back at high tide to give us a ride back across the lagoon at our return.
Soon it was clear we were in the realm of bears. On our first day, we saw the sow and three cubs of my morning encounter just outside the alders that line the camp. Each day as we approached the base of Mikfik creek, we saw a new form of combat fishing: in a short turn of the creek 20 bears were fishing for the dwindling red salmon run that goes into Mikfik. In fact on the second day we noted approximately 30 bears while standing in the middle of the lagoon.
Bears Fishing on Mikfik Creek
On the opposite side of the lagoon the trail heads to the high ground between the two drainages. On the second day we watched as a sow with 3 spring cubs went up our trail. We cautiously worked our way up the trail looking for the bears and as we got to the top of the rise we found them. However, as we watched, a boar appeared close to the sow. Our guide noted that we were standing on her only good escape path and suggested that we move a few feet off of the trail. Soon I was reminded of the sound of thundering paws and woofing as the sow and three cubs ran past us. As the bears approached, I was snapping pictures furiously, but as the bears filled my viewscreen thoughts of self preservation prevailed and I looked up from my camera. “Keep shooting!”, the guide intoned “you are safe”. So I started shooting once again.
Sow with cubs running from Boar
The cubs
Another mile on the trail in tall wildflowers and soon the air was filled with of the sound of rushing water. We came to the edge of a small canyon and got our first views of the falls with 10 or so bears fishing, and several sleeping either on the gravel viewing pad or on the trail to the pad. Each day as we slowly moved toward the pad, the bears dispersed to let us through. Then our 10 hours of uninterrupted viewing began. We had bears to the right of us, bears to the left of us, bears everywhere. In fact at the height of our best day we had 33 bears within 50 feet of our location. At one point a bear seemed interested in our packs and had walked to the rear of the pad. While it seemed silly, our guide advised that we just move a camp chair between the bear and our pack. Obviously a 1000# bear should have no trouble swatting away a 3 pound chair, but the sudden introduction of the strange object caused the bear to immediately stop its approach and back away with only a grunt for its objection. All sorts of bear activity surrounded us: feeding, fighting for choice spots, mating, playing juveniles. For me, with an interest in bears, it overwhelmed my senses.
Big Boar comming accross the falls
Confrontation over a choice fishing hole
Yes Bears even do that at the falls
They do get close enough the noise of the shutter can be an issue!
Then almost as soon as it would begin, our 10 hours at the pad were done and it was time to retreat back to the camp and a wonderful dinner of freeze dried stroganoff, amazing how good something so bland can taste so good when you are cold and hungry. Each day gave me a new insight to bears. The bears don’t come with bad habits; we teach them bad habits. If we are neither a threat nor a source of food, we are like the seagulls; we are there but not worth worrying about and they will conduct their business without regard to our presence. This been proven by the experiences of the last 30 years that Fish and Game employees have been taking visitors to McNeil Falls.
My wife and I at the upper viewing pad.
This spectacle of nature, as wondrous as it was, is a spectacle that is presently under stress, some political and some environmental. The maximum numbers of bears found at the fall just 10 years ago numbered in the 60’s while today the numbers peak in the mid to low 30’s. Lower runs of salmon are the suspected cause and research continues. Also, in the spring of 2006 the Alaska Board of Game voted to open the areas directly south of McNeil to hunting in the 2007 season in the face of an overwhelming majority of testimony and further advised that they were to consider a proposal to allow hunting within the preserve in 2007. Fortunately, a very strong public campaign directed at the Governor’s office and the Board of Game caused a reversal of the decision in 2006, so there is not to be hunting in the areas surrounding McNeil, however, the Board of Game is comprised completely by those with hunting interests in mind so they bear continued monitoring. So there is an uncertain future for the bears of McNeil River. I hope that sanity and the salmon will return and the bears will regain their number and retain their indifference to our presence, so when my next successful lottery pick occurs I will once again be overwhelmed by bears.
On our last day of visiting the falls, we were accompanied by a gentleman from Talkeetna, Alaska and his 16 year old daughter. Watching the bears with the infectious enthusiasm of youth only served to heighten the wonder of my own experience. I hope the we will have the wisdom to help this spectacle survive to allow the 16 year old to share the wonder of the bears of McNeil with her children in the future in the same fashion that she has now done with her father.
I feel obliged to say that you shouldn't try this at home with your bears. McNeil is a place where human contact has been controlled for the last 30 years and these bears have not had negative or postive contact with humans and they have been habituated to our presence. Anyone whose first encounter with bears is McNeil will not learn the distance that one should keep from bears that might see us as a threat or food and meet with an unfortnate experience.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Saturday night in Lincoln was one of our best nights out there ever. We had such a great time, lots of interaction with other people.
We started out at the Skylight Bar in the Doubletree hotel on Brayford Wharf then went on to Popworld, which was a Fever Boutique last time we were there.
At Popworld we met the wonderful Ashliegh who was just great company all night! And we had a dance on the light-up dance floor too. A brill night all round!
At the Sylight Bar in the Doubletree.
See anything out of the ordinary in picture? If you do, please comment and tell me what you see. Thanks
In the 1970's a new family moved into what they believed to be the perfect home. Immediately the strange happenings began. Mr. and Mrs. Robert Fletcher and their four children moved into this 100 year old house that at one time had been a roadside inn. In the home there was a supernatural terror that had the family scared for their lives. They turned to exorcism and Fr. Alphonsus Trabold for help. He believed that the Fletcher home was possessed by a supernatural entity.
Mrs. Fletcher and the children first noticed a mysterious chanting sound when hiking in the hills near their home, which disappeared 3 weeks later. The phone would ring with no one on the other line, the family heard pounding noises, and money and other things would be displaced or completely disappear. Lights went on and off by themselves, the kitchen stove would turn on and off while cooking dinner, windows opened mysteriously and water faucets would turn on and off by themselves. One of the children heard dragging noises in the attic, only to have Mr. Fletcher check it out and find the chimney dismantled.
The family also witnessed things moving by themselves. The Fletchers, along with their friends, also began seeing apparitions, mostly of women dressed in long gowns, both inside and outside the house. Once the family saw several faces looking at them through the window, and when they went outside to check it out, the same faces were looking back at them from inside while the lights flickered on and off. They also witnessed other apparitions of strange animal-like creatures that were not of a known species. According to Fr. Alphonsus, apparitions can be caused by hallucinations or by a psychic force. "If the person is of a stable mind and the apparition is witnessed by others, you can eliminate the possibility of hallucinations," he said.
As the strange happenings progressed, the apparitions began leaving physical evidence behind. There would be indentations on chairs and beds when no one had sat on them, and the animal-like apparition jumped into the daughter's lap. Two family friends caught an apparition, that was in the process of disappearing, walking outside the house on film. Fr. Trabold and other priests thought it looked like the figure of a tormented American Indian.
After that, the haunting grew violent and the family began fearing for their lives. There was a large family photograph hanging in a room, and once the family found a letter opener suspended over the picture, pointing at one of the girls. It fell to the ground as the family tried to approach it. Another time, a lamp flew across the room at another one of the girls. The Fletchers cleaned up the glass and locked the door to the room, and when they returned sometime later, they found the ace of spades lying in the middle of the floor. Two of the children woke up one morning with strange burn marks all over their bodies.
A few days later, the grandmother heard the Fletchers' son Randy's car in the driveway. She looked out the window and saw Randy and a blonde haired woman drive up to the house and then drive away. Later on that day, the grandmother found out that Randy's car had been in the garage all day and was not in operable condition. A couple days after that, Randy was involved in a near fatal car accident when apparently his car went out of control and hit a tree. While he was semi-conscious in the hospital, he kept asking about the blonde woman, but she was never found. However, there was evidence of a passenger because the dashboard contained the indentation of a human head. A mechanic could not explain the nature of the car's malfunction. Randy has complete amnesia about the accident.
Fr. Trabold performed an exorcism on the house, with family members, researchers, and a film crew present. During the filming of the exorcism, the lights kept flickering. The house was calm for a few weeks after, but after the effects of prayer wore off, the strange occurrences began happening again, and the family eventually moved out.
web.sbu.edu/friedsam/archives/Biographies/Trabold/paranor...
Comment Box ..CLOSED..
but will be returning faves "Share + Look"
All best wish happy and take care 2022
Aber Lin
March/26/2022
😍😍😷😷💉💉💉😷😷😍😍
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Night 2 of Gemma's visit and we were back at Wings International all you can eat restaurant. Blimey, we gave it a good go - we ate so much!
Afterwards we wandered over to The Star for a quick drink but it's not the same with the restrictions in place so we left after half an hour. Still painfully full!
My many desserts, ha ha!
Comments from the IMDB.com message boards.
Go to the photoset for more like this one: www.flickr.com/photos/angusmcdiarmid/sets/72057594087388006/
Also, there's the Cameo website. Best screen in the country!
comments and critique very welcome on opinions of this the Tokina...11-16mm SD F2.8(IF)DX AT-X PRO Lens
PLEASE, no multi invitations in your comments. DO NOT FEEL YOU HAVE TO COMMENT.Thanks. DO NOT SEND ME E-MAIL REQUESTING ME TO LOOK AT A PICTURE, I RETURN ALL COMMENTS IF YOU COMMENT.
The Bonaventure lighthouse is found on the Pointe Beaubassin, close to the Plage Beaubassin campground.
Nearest Town or City: Bonaventure Quebec Canada
Location:Baie des Chaleurs, Gaspé Peninsula.
Notes:This light was established in 1902 at nearby Pointe Echouerie and moved to Pointe Bonaventure in 1907.
Tower Height: 10.4 meters (34 feet)
Description Tower: White, square, pyramidal wooden tower with a red lantern.
Operational:No
Date Established: 1907
Date Present Tower Built:1902
Current Use: Unknown
Open To Public:Grounds only.
Directions: The lighthouse is on private property. It can be seen from Highway 132 a few miles east of the town of Bonaventure. There is parking along the highway.
Characteristic Range: Green flash every 5 seconds; range 12 miles (1995).
Height Focal Plane: 52
National Register: No
Alternate Name1: Pointe Souris Light
Alternate Name2: Pointe Echouerie Light
Date Deactivated: 1998
PLEASE, no multi invitations in your comments. DO NOT FEEL YOU HAVE TO COMMENT.Thanks. DO NOT SEND ME E-MAIL REQUESTING ME TO LOOK AT A PICTURE, I RETURN ALL COMMENTS IF YOU COMMENT.
It was a great surprise for me to see this here, in this submarine a long time ago I came very close to being killed. It was in refit and I was doing work on the boat, slipped in the conning tower and got a serious injury, a large cut about a foot long. Oh well ancient history now and I am fine.
The Onondga is the only submarine open to the public in Canada. Discover the lifestyle of submarine crew members confined within a 90 meter ship for months.
The ONONDAGA is the Canadian submarine with the longest active career in the history of the Canadian Navy. It was in service for 33 years. It travelled more than 500,000 nautical miles be that more than 23 times around the world. About half the distance covered was underwater. It visited more than 53 ports in 12 different countries and was under the command of more than 25 commanders during its long career. A major part of this career was under the patronage of NATO (North Atlantic Treaty Organization).
Canon EOS 6D - f/14 - 10sec - 100 mm - ISO 200
I did build a scale model of the 'Red and Blue chair' from Gerrit Rietveld (see picture in the first comment).
The assembly instructions in the kit were very clear and easy. But what would have been the result if this kit was sold with one of the infamous IKEA instructions ... ? ;)
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The Red and Blue Chair is a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions.
The original chair was constructed of unstained beech wood and was not painted until the early 1920s. Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and suggested that he add bright colours. He built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement. The effect of this color scheme made the chair seem to almost disappear against the black walls and floor of the Schröder house where it was later placed.
The areas of color appeared to float, giving it an almost transparent structure.
In the Red Blue Chair, Rietveld manipulated rectilinear volumes and examined the interaction of vertical and horizontal planes, much as he did in his architecture. Although the chair was originally designed in 1918, its color scheme of primary colors (red, yellow, blue) plus black—so closely associated with the de Stijl group and its most famous theorist and practitioner Piet Mondrian—was applied to it around 1923. Hoping that much of his furniture would eventually be mass-produced rather than handcrafted, Rietveld aimed for simplicity in construction. The pieces of wood that comprise the Red Blue Chair are in the standard lumber sizes readily available at the time.
Rietveld believed there was a greater goal for the furniture designer than just physical comfort: the well-being and comfort of the spirit. Rietveld and his colleagues in the de Stijl art and architecture movement sought to create a utopia based on a harmonic human-made order, which they believed could renew Europe after the devastating turmoil of World War I. New forms, in their view, were essential to this rebuilding.
The Museum of Modern Art (MoMA), which houses the chair in its permanent collection, a gift from Philip Johnson, states that the red, blue,and yellow colors were added around 1923. The chair also resides at the High Museum of Art, Atlanta.
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De Rood-blauwe stoel, ook Rietveldstoel genoemd, werd omstreeks 1918-1923 ontworpen door meubelmaker en architect Gerrit Rietveld. Vandaag de dag geldt de stoel, naast het Rietveld Schröderhuis, de asymmetrische composities van Mondriaan uit de jaren 20 en Café De Unie, als een schoolvoorbeeld van kunstbeweging De Stijl.
Rietveld reduceerde in dit ontwerp de traditionele armstoel tot 13 beukenhouten latten met een vierkant profiel, twee beukenhouten latten met een rechthoekig profiel en twee rechthoekige, triplex panelen. Voor de latten kan, op aanwijzing van Rietveld zelf, echter ook een andere niet-splijtbare houtsoort gebruikt worden. De latten worden, volgens een ongedateerde werktekening van zijn hand, met 16 ronde, beuken pennen op elk raakvlak aan elkaar bevestigd, en ‘de rug en zitting worden op de latten gespijkerd’.
Hierdoor was de stoel eenvoudig met behulp van bijvoorbeeld een zaagmachine te produceren. Rietveld hoopte dat machinale productie enerzijds het werk van de arbeider zou verlichten en anderzijds kwalitatief goede producten (zoals zijn stoel) bereikbaar zouden maken voor een groter publiek.
Over de datering van het eerste prototype van de stoel bestaat onder kunsthistorici onenigheid. Sommigen plaatsen hem in 1917, anderen volgen de aanwijzing van oud-Rietveld-medewerker Gerard van de Groenekan, die er stellig van overtuigd was dat hij in de zomer van 1918 is ontstaan. Uit onderzoek van de kunsthistorica en Rietveld-specialist Marijke Kuper kunnen we echter afleiden dat de stoel voor het eerst in 1919 is gemaakt.
Het prototype is nog niet uitgevoerd in de kenmerkende kleuren rood en blauw, maar is onbeschilderd en van een donkere kleur hout. Bovendien heeft het onder de armsteunen triplex zijpanelen.
Later maakte Rietveld een andere versie, zonder deze zijpanelen, om de stoel zowel visueel als fysiek lichter te maken. Zodoende had Rietveld de constructie van armstoel tot een minimum ‘gedeconstrueerd’ en waren alle onderdelen waaruit hij bestaat zichtbaar gemaakt. Ook deze stoel is onbeschilderd en donker. Hij is 87 cm hoog, 60 cm breed en 60 cm diep.
Het eerste (onbeschilderde) exemplaar van 1921 werd besteld door P.J. Schelling. In 1922 bestelde Dr. A.M. Hartog een exemplaar voor zijn, ook door Rietveld ontworpen, behandelkamer in Maarssen. Het exemplaar dat de Haagse avant-garde dichteres Til Brugman in 1923 bestelde voor haar, door Vilmos Huszár geschilderde muziekkamer, is geheel wit gebeitst. Dit exemplaar werd in mei 2007 bij Christie's in Amsterdam geveild voor € 264 000. Daarnaast zijn er nog bekend: een roze stoel, een zeegroene stoel (besteld door Charley Toorop) en een zwarte stoel met witte kopse kanten (besteld door Paul Citroen).
De kleuren rood, blauw, geel en zwart werden omstreeks 1923, kort voordat Rietveld het Rietveld-Schröderhuis ontwierp, onder invloed van werk van Piet Mondriaan, Vilmos Huszár en Theo van Doesburg, aan de stoel toegevoegd. In een ongedateerde werktekening van Rietveld, waarschijnlijk uit de jaren '30, die bewaard wordt in het Centraal Museum in Utrecht, geeft hij de definitieve afmetingen en kleuren van de stoel.
Op een door Rietveld zelf geschetste prijslijst uit omstreeks 1923 staan twee schematische tekeningen van de stoel in rood, blauw en zwart. Volgens deze lijst bestond er een 'goedkoope uitvoering' van 15 gulden en een 'fyner uitvoering' van 22 gulden 50. De goedkopere uitvoering werd geproduceerd door de firma C. van 't Hullenaar in Utrecht; de duurdere door Rietveld en zijn assistent Gerard van de Groenekan zelf en was te koop bij kunsthandel Gerbrands, eveneens in Utrecht. Deze handgemaakte exemplaren verschillen door de jaren aanzienlijk van afmeting.
Ondanks de strakke vorm zit de stoel zelfs zonder kussens comfortabel. Toch waren veel mensen van mening dat de stoel niet lekker zou zitten. Daarop antwoordde Rietveld: ‘Zitten is een werkwoord.’
Rietveld over zijn Rood-blauwe stoel: 'Het kwam nooit bij me op dat dit object zo belangrijk zou worden dat het zelfs de architectuur zou beïnvloeden.'
In 1971 verkochten de erfgenamen Rietveld de rechten van de stoel aan de Italiaanse firma Cassina, die in 1972 de productie van de stoel hernam. Door de machinale productie hebben de stoelen afkomstig uit deze firma allen dezelfde afmetingen.
De stoel is nu hét icoon van De Stijl, hoewel Rietveld hem ontwierp toen hij nog geen lid van deze kunstbeweging was.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
I got myself a makeup ring light and it is a beast! I have had my eye on this for a while and decided to take the plunge. Well worth it too - it's fantastic for doing makeup and for selfies. Will be especially good in hotel rooms where the lighting is somethimes terrible!
Adjustable brightness and frequency so I can chcnge between cool white and warm white light.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Jubilee weekend we went for a day out in York, which is only a 45 minute drive from where I live.
At the Yorkshire Museum.
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
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Saturday night we went to a lovely Indie night I've been going to on Prince's Avenue called Beat The Clock. Some great tunes all played from vinyl - less mainstream than many nights, some more obscure tracks mixed in with well known ones.
We started the evening with food at Crafted, then went on to 80 Days Bierhaus, then Hoi and finallu upstairs at Hoi to Beat The Clock. A great night!
On the dancefloor with Mike Monroe, one of the organisers of the evening.
Cemetery: Restlawn
Comments:
Restlawn is a flat-stone cemetery run under the auspices of Dignity Memorial, the “largest network of honored funeral, cremation and cemetery providers” in the country, with some 1600 affiliates. From their literature it’s not clear how ownership is distributed. Cemetery displays perhaps ten or more treeless acres up the side of a hill bordering Highway 22. If you’re going to be buried there, I’d recommend as far away from the highway as possible. It’s gone under a number of variations on the Restlawn theme, including such things as Restlawn Memory Gardens and Restlawn Memorial Garden, but the new operators appear to have shortened it to the current short form.
While not advertising itself as such, Restlawn should probably be classified as fundamental Christian, as that’s the predominating theme, with religious tableaus and the cemetery divided into religious “gardens,” though ones devoid of plants or flowers. It has one exception to the “no uprights” rule, that of a “freeform” monument to Donald Walters (1969-2003). Donald’s marker is testimony to much more than a young man cut down in his prime, it’s a prime example of a recent phenomenon in the cemetery trade: carrying ones cause to the tomb. For the most part, people in their departure take the opportunity to get right with their god or be remembered by their friends for the good they brought into the world, but now, on the fringes, some people are taking their anger with them to the grave. One expects to see a clenched fist pushing out of the ground.
Or maybe not. Maybe it’s more the living taking advantage of the dead by using their name to further their own agenda. Like historical markers, memorials such as that for Donald say more about those who erect them than the events themselves. I’d bet your bottom dollar that Donald, whose stone lists: “Operation Desert Storm/ Operation Iraqi Freedom - KIA - POW/ 507th Maintenance Co.,” didn’t provide his own epitaph. It wasn’t his idea to make him into a cause celèbre. The back of his headstone contains the long epitaph:
“I would lay down my life for my family and nation if it was worth it, and this one is to let them appreciate the taste of their freedoms. Freedom isn’t free and someone must do what they must do to preserve it. The Bible states, “Blessed is he who lays down his life for the sake of his friends.” I fear not and am motivated by the fear of the unknown and being a part of the bigger picture. Whatever doesn’t kill you will make you stronger.”
Was that passage taken from a letter from Donald? Part of it? Was it a compilation? Who chose? There are many other veterans from many other wars in Restlawn; none of them lists their operations name rather than their war. And none of them gets an upright; only Donald. Donald gets a picture under glass too: hunched down on one knee, dressed in camouflage, but not combat gear. When he returned from his first tour of duty in Kuwait, he was “a changed man,” his father said. “He was super nervous, which is understandable. He saw horrible things.”
Nonetheless, he reenlisted in the Army Reserves and returned to the Middle East for the next war. In Iraq he was a cook, but his parents didn’t know what he did in Kuwait. He was, by all accounts, an accidental soldier. He wasn’t seeking combat, it sought him. He was satisfied with being a cook, but an ambush made him a soldier.
Donald’s tombstone says, somewhat ambiguously, that he was both “killed in action” and was a “prisoner of war.” Reading through the various accounts of what happened, all we really know is that a convoy in which he was riding was attacked and all but a handful of the American soldiers were killed, the rest taken prisoners and subsequently executed. Donald was among those taken prisoner. One can only imagine it would have been best to be killed in the first round.
Would Donald have so freely tossed out the tired clichés: “freedom isn’t free,” and “whatever doesn’t kill you will make you stronger”? How is it that he “fear[s] not,” yet is “motivated by the fear of the unknown and being a part of a bigger picture”? What does it mean to fear “being a part of a bigger picture”?
The modern politicization of death is further emphasized at Restlawn by a handsome plaque “In Memory of all Vietnam Veterans,” a recent addition these many years after the fact. It has an embossed compilation scene of action in Vietnam:
“This memorial was erected in memory of the young individuals who went to war as kids and lost their youthful dreams, and some their lives, for a cause - freedom and honor - and came back as men with the horrors of war instilled in every fiber of their being and were never given the respect and honor they so deeply deserved from the public or the United States government.
“God will one day judge our actions. Until then, He will shine on the lives of each veteran now and forever more because He was with each of them in Vietnam. He is the only One that truly knows what they went through and are living with every day.”
As with Donald’s stone, sad and unfortunate confusion clouds reason and judgment. Surely, God was with the Vietnamese soldiers as much as with the Americans. After all, they won. And whether or not a soldier deserves “respect and honor” depends, I presume, on which end of the barrel you’re visiting.
All of which begs the question of whether or not Vietnam was about “freedom and honor” any more than the Gulf Wars were. Not to mention the question of “where does the love of God go, when the minutes they turn into hours”? One might want to be cautious about welcoming God’s judgment.
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
"Ok, I may lose some contacts over this,but so be it i guess! A friend of mine recently told me that a comment was made about a picture that he had posted a while back. A rather crappy comment about him being a "feeder Cheater", because he photographed a bird on or near a feeder....
If i plant some Crab Apple trees in my yard and photograph Cedar Waxwings in them....is it cheating!? If go to the farmers field next door and photograph Goldfinches on the Sunflowers he planted....is it cheating!? The Screech Owl i recently posted can be found every morning i go there and its tree is beside a road ( i dont even have to get out of my truck)....Is that cheating!? My great friend and very talented photographer Tania shares her Hummingbird pictures & videos every spring with us all when they visit her house...is she cheating? A very talented photographer and someone i hope to meet maybe in a month, Hank Halsey has figured out where there are good concentrations of Apple Snails that attract Snail Kites...if he goes there is he cheating!? If Snidy photographs Bullfrogs in her pond in her yard...its cheating?
Sure, i think most would agree that a picture of a Lion running wild in Africa is a bit more stunning than a portrait of a Lion in a zoo...but the zoo portrait should not be looked at as beautiful, or a great shot composition wise, beacause its from a zoo...HELL NO! Pictures are posted because a person thinks others might find it as enjoyable as they did. Tame or wild, all God's creatures are beautiful! In a national park, or a backyard...they are beautiful!
....Where is the line drawn in the sand? And why would a certain person try to make another person feel as if he should not have even posted a picture!!! Constructive criticism is great...it helps us become better photographers...right? But personal attacks about a persons skill, decisions on what to post, and what is beautiful is just wrong! If you dont agree or you dont like a certain photograph, and you feel you're going to be an A$$ to someone.....close the page and leave them alone!
I post pictures of birds around my house, because most of the time i only have minutes after work to get some shooting in. No one wants to see the pictures i get because they are near a feeder?....HELL NO!
I have spent many days and countless hours with this certain friend. I've seen him covered with sweat in the summer tracking down Warblers through thickets and Hemlock stands. I've seen him get eaten alive by mosquitoes for hours to get a shot! There is nothing more this guy likes than to be away from civilization photographing the beauty around him! He also has beauty in his back yard, and i enjoy it when he shares them with us all!
The person who made this comment used to be a contact of mine...and his photography is amazing...BUT...his "true colors" are ugly!
* Red-bellied Woodpecker near a suet feeder in my back yard ( and this guy in a different pose is one of my best rated shots on Flickr)....I'm a Cheater!..LoL!
We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"
We promise we wont crunch your credit.... we'll only crunch your Christmas!!
GPW Heavyweight Title Match
Bubblegum © vs. Dirk Feelgood
Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?
Tag Team Special, Skeletor vs. Stella
Lethal Dose vs. Voodoo & "Sober" Mike Holmes
Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?
GPW British Title Match
Jak Dominotrescu vs. "Super" Sam Bailey
After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?
And, the main event for the evening is...
GPW Tag Team Title 2/3 Falls Match
MIl-Anfield Connection © vs. Young Offenders
The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?
GPW British Title No.1 Contenders Match
Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo
After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?
Lumberjack Match
Si Valour vs. Heresy
A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?
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Principles of photography, sex, time of light to know
"Lighting"
Without light, photography is impossible.
Do not care to use the film or digital system! However, this light that creates the image. But lights are not equal, in some hours, the light is more brilliant. Although this issue has little importance, because the lack of light can be increased during the exposure and the use of more open aperture to compensate. However, the quality of light in a picture effectively contributed to success.
"Light variable"
The effect of how the sun affects a scene, depends on many different factors.
Mtghyyrand so these factors, which may never unable, as a photo taken today, you are back to interact. Position the Sun in the sky not only change with time, but other factors such as season and location changes. All of these factors on the color, angle and brightness of light affect the amount of change and equally light Rvymvzv that is effective, the impact of Shadows mode.
Certain weather conditions also affect the light conditions and at any moment there are some changes. For example, clouds are not only front the sun, but as filters and player, the quality of light and thus alter the status light images per seconds may change.
Also used the human brain, objects according to their mentality and sees not imagine actually. Of course, sometimes we are following different lighting conditions Breymann (for example, when the sun, its golden rays from the surface to remove a landscape) However Khdr often do not see much difference.
The fact that natural lighting in terms of quality, continuous and varies in intensity of this change Mode Ynmaysh of everything is change. Photographer should see good practice so that before pressing the shutter button (Msdvdknndh) May to determine what the lighting conditions, photos will be better.
From sunrise to sunset
All these photos in a day of spring has been a similar angle.
The pictures show how light can change, and in some circumstances, there will a better image.
The first photo of the photo collection, just before sunrise about 6:45 that morning and the last photo taken of the sunset, about 8:30 PM is taken. These photos of the different time intervals during the day have been, change the amount of light to show the accuracy.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Quite a lot of photos from this November evening! Experimenting with a few camera angles so here are the ones which (in my opinion) worked.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
I had a lovely day out showing Jenny around Hull!
Jenny at the solar gate in Queens Gardens - a lovely piece of engineering. The circles on the ground represent various significant dates and times - which align with the sun shining through holes in the solar gate and shines on them.
Disclaimer, my next comment may make some of you scratch your head. So for the last month, i've been rejoicing in my need for glasses and my new pair. I've wanted cute glasses for years, but did not need them (one of my kids even got me a cheap pair with plain glass, as a joke). 3 years after being told I had AWESOME vision, I went and was told I needed 'readers' (which I was gleefully suspecting for the last 6 months when i'd move things further away to be able to read them). SO...first of all, I actually love the fact that I can read without having to get into a certain position, but right now my really cute glasses are my favorite thing.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Red Quiz dress for this June evening.