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Gemma came up for the bank holiday weekend, and on the Saturday we wanted to have another walk around the new footbridge and get some better (and warmer) footage than we got a few weeks previously.
We went for a little walk around the marina too. It was reasonably busy with bank holiday revellers - as often happens we encountered some fun people. It was a great evening, and Gemma got some amazing pictures and footage!
All of that was fuelled by a tea of pancakes filled with banana and Nutella - lovely!
We always have such fun doing these dance videos. I think that comes through in the footage!
comments are welcome!
prefer coffe or tee? :) You´re invited...
einen Cafe, oder einen Tee gefällig?? :)
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?
Well, the sun finally played nice at Troy for this shot of the KCS "Belles" leading Q243 down the B&O. Unfortunately, the shadows didn't want to play nice. The trackside resident is apparently one of those people that don't think opinions are like ass holes.
All views (and comments) are most appreciated. Thank you. If you use this image on your web site, you need to provide a link to this photo.
[This is one of a set of 8 photos} The John Waddey Carter House in Martinsville, Virginia, was built in 1896; the architect was George Franklin Barber, mail-order architect from Knoxville, Tennessee. This was a wedding present for Carter’s second wife, Kizziah Drewery. Locally the house is known as the “Gray Lady.” Carter was a lawyer and politician, one-time mayor of Martinsville.
A somewhat subdued Barber design, this is still a remarkable Queen Anne with architectural features galore. It’s a 2-story frame weatherboard structure with a dominating central gable, under which are found porches on both first and second floors. The roofline is complex with the front gable, steep-pitched cross gables, and a tower with onion dome. The roof is hipped, standing-seam metal-clad. A large dormer window is on the side with narrow double windows. Running bond brick forms the foundation.
The first level front façade has a wrap-around porch that contains the bulge of the tower. It has a frieze of beaded spindlework, turned posts and lace brackets, and a balustrade consisting of thick balusters but with panels at the corners. The porch gable has a board-and-batten decoration and a very basic bargeboard. The second-level porch has more involved ornamentation with a base of fish-scale shingles, a wide, subdued bargeboard, and stylized floral corner medallions. The central gable is decorated with fish-scale shingles and has two small 1/1 windows, the upper portions with a design of diagonal muntins.
The octagonal tower is more a part of the mass of the house rather than a taller, more prominent element. Fish-scale shingles form the base of the tower above the roofline; above this are small sunburst windows; and above the windows is an overhang with prominent brackets. Capping the tower is a small onion-dome with patterned metal shingles. A variety of windows exists throughout—tall but narrow 1/1 paned windows, single-paned, round, half-round, arched, and stained glass (I didn’t spot this). The entrance is simple with large sidelights and a decorative sunburst pattern below them.
Modifications have been made to the original house to accommodate additions of a bathroom and kitchen.
The house was listed November 3, 1988 on the National Register of Historic Places with ID #88002180. The Virginia Department of Historic Resources nomination file includes a very detailed account of the interior arrangement and decorative elements.
www.dhr.virginia.gov/registers/Cities/Martinsville/120-00...
A nice b&w photo (no date given) at
www.dhr.virginia.gov/registers/Cities/Martinsville/Carter...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
In loving memory of
Reverend Frank W ISITT
October 3 1846 – November 11 1916
Patriot, Preacher, Prohibitionist
Friend of Children
Lover of Mankind
His life was a challenge not a truce
Charles Whitmore ISITT
Son of the Reverend F W ISITT
Born December 31st 1874
Died September 22nd 1946
Francis Charles ISITT
Son of C W ISITT
1898 – 1976
Marie LaMothe ISITT
Beloved wife of above
Honourable Leonard Monk ISITT M.L.C.
Methodist Minister
1855 – 1937
There are who triumph in a losing cause
Tis they who stand for freedom and Gods laws
Also Agnes ISITT
Beloved wife of above
1857 – 1938
Rifleman Willard Whitmore ISITT
Aged 22
The younger son of
Leonard Monk and Agnes ISITT
He died of wounds on the Flanders
Front, October 31st 1916, and is buried
In the Communal cemetery, Estaires.
He gladly gave his life for his country.
Francis Caverhill THORNTON
1889 – 1960
Herbert John ISITT
1844 – 1926
Brother of Frank and Leonard
Sons of
Rebecca and James ISITT
Bedford, England
Christine Scott CAVERHILL
1834 – 1918
L Miriam ISITT
1898 – 1992
Beloved wife of F C ISITT
**************************************
Rev. Frank W ISITT [Francis Whitmore]
Block 36 Plot 177
[Coroners Warrant]
See photograph in comments section below [1]
Born England and in NZ 45 years at time of death.
Died of hearth failure.
His obituary at time of death:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
Rev Francis Whitmore (Frank) Isitt (1843[sic] –1916) was a New Zealand Methodist Minister, who was general secretary of the New Zealand Alliance (for prohibition) from 1900 to 1909. He was a brother of the Rev Leonard Isitt.
Rev Frank Isitt entered the ministry from the Sydenham Circuit, London and after a term at Richmond College went to New Zealand in 1871. He was a parish minister for a number of years, but after two breakdowns in health concentrated on temperance work. He stood in the 1902 election as a prohibition candidate for ten seats, and came second in eight. He also stood in the 1905 and 1908 elections.
In February 1874 he married Mary Campbell Purdie (Spinster, 22 years) in Dunedin; in the house of Dr. Wm Purdie of Upper Kaikorai, who was probably her father.
Also
“Here are buried Herbert John Isitt and his brothers who were Methodist ministers and deeply involved with politics and the social problems of their age.
The Rev. Frank Isitt was born in England in 1846, trained at the Wesleyan Training College, Richmond, came to New Zealand in 1870 and served at Balclutha, Port Chalmers and New Plymouth. After he had recovered from a breakdown in his health, he served at Nelson, Invercargill and the East Belt (FitzGerald Avenue), Christchurch. In the 1890s he took up work for the Prohibition organisation, the New Zealand Alliance, first as travelling agent and then as secretary. He edited the Prohibitionist, firstly with Thomas Edward Taylor and then on his own, ‘possessed rare gifts of organisation … [a] magnetic personality … passionate eloquence … and untiring energy’. He was a ‘man of very warm friendships … had a fine character in his private life …. [and] a host of friends throughout New Zealand’.
A ‘comrade’ wrote:
Today will be laid to rest the frail body in which tabernacled for 70 years the strong heroic soul of F. W. Isitt. Pure of heart, gentle of nature, strong and brave of soul, the wrong and oppression of the weak, the suffering of humanity ever kindled in him a passion of pity and a consuming desire to help and save.
Frank, with his brother, L. M. Isitt, T. E. Taylor and the Rev. P. R. Munro
… formed that quartet of great leaders which, for so many stirring and strenuous years led valiantly and wisely the crusade against the liquor trade throughout New Zealand and secured much restrictive and progressive licensing legislation.
The ‘comrade’ concluded:
He lived the truth he taught,
white-souled, clean-handed, pure in heart.
As God live, he must live always.
There is no end for souls like his,
No night for children of the day.
The gravestone states that Frank Isitt was ‘Patriot, Preacher, Prohibitionist: Friend of children, lover of mankind: his life was a challenge, not a truce’.
Leonard Monk Isitt was born in England in 1855 and, in New Zealand, joined the Methodist ministry, being ordained in 1881. He became an enemy of drink when he went to bury a victim of alcoholic poisoning. The coach-driver was scarcely able to control his horse, such was his state of inebriation; and the grave-digger was so drunk that he could only inadequately dig the grave.
With Thomas Edward Taylor, Leonard Isitt led the no-licence campaign which led to the closure of all the public hotels in Sydenham. The decision was fought all the way through the courts and up to the Privy Council where it was reversed. With the consent of the Methodist Conference, Isitt resigned from his ministry and devoted his time to campaigning for a ‘local option measure’ so that different areas could vote on whether they would have licensed premises.
Four times Isitt campaigned in England for the Great Britain Alliance. For 12 years he lectured on Prohibition virtually as a whole time job and ‘ruined a remarkably fine singing voice to the extent that … [he] had to give up singing altogether’.
Taylor died in 1911, Isitt taking his Christchurch North seat. When interest in Prohibition waned, he supported the Bible-in-schools campaign. He retired in 1925, dying in 1937.” [2]
Charles Whitmore ISITT
Block 36 Plot 181
Born Fairlie, NZ [3]
Francis Charles ISITT
Block 36 Plot 177
Born Hawera, NZ and a farmer at the time of his death
Died 22 July 1976 aged 76[4]
Marie LaMothe ISITT
Not recorded on CCC database – possibly cremated and ashes interred
[wife of Charles Whitmore ISITT]
Newspaper notice of her marriage that took place on 8 June 1897:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
Her probate is available for year 1958:
www.archway.archives.govt.nz/ViewFullItem.do?code=1952621
Leonard Monk ISITT
Block 36 Plot 179
Born England and in NZ 60 years at time of death
Died 29 July 1937[4]
His probate is available [Occupation: retired stationer]:
www.archway.archives.govt.nz/ViewFullItem.do?code=20187931
"Methodist minister, temperance leader, politician.
Leonard Monk Isitt was born in a Methodist home in Bedford, England; his father died when he was two and his mother when he was 12. He was educated at Clevedon Methodist College, Northampton, and, afterwards, at the age of 15, joined a drapery firm. He came out to New Zealand to get experience and also to join his brother Francis Whitmore who was a Methodist minister at Balclutha. Isitt worked in the warehouse of Ross and Glendining at Dunedin, but the urge to enter the Methodist ministry became stronger, and he was sent to a Home Mission Station at Lawrence. Here occurred an incident which influenced his subsequent career. Called upon to conduct the burial service of a man who had died of alcoholic poisoning, whose body was hurried by a drunken driver to a grave left half-dug by a drunken gravedigger, Isitt scathingly denounced the publicans present at the funeral and set his whole energies to fight the drink evil.
Isitt became a minister in 1876 and was ordained in 1881. He was stationed successively at Auckland, Masterton, Wellington, Christchurch and, finally, in 1889 at Sydenham, where the drink evil was seen in its most sordid aspect. It was largely a working-class district, with grimy little cottages jammed into the smallest possible sections, many of them blackened with smoke from the railway yards. He met T. E. Taylor, a kindred spirit, and together they determined to fight for legislative prohibition. The campaign followed two chief lines of attack. One was propaganda spread by means of a paper, The Prohibitionist, which, although started for local consumption, was soon circulated throughout New Zealand under the name of the Vanguard. His brother Francis edited the paper. This propaganda was aided by one of the most powerful speaking campaigns ever carried out in New Zealand. Isitt had a natural eloquence which, fed by his burning enthusiasm for his cause, made him an orator of a type probably unequalled in New Zealand. He ruined a good singing voice by his efforts. Dr C. F. Aked described him in these words: “When did we hear such speaking as his? Clear pure Saxon, not a word misplaced, not a sentence which could be improved; every phrase a point; every point sent home; massive sentences falling like the strokes of a sledgehammer”. The Methodist Conference released him from his usual work to concentrate on his campaign.
Isitt's second line of attack was to gain control of the Licensing Committee and refuse licences to all Sydenham hotels. The first attempt in 1890 failed, but the next election resulted in all five members elected being Prohibitionists. The publicans, however, took a test case to Court and Judge Denniston ruled that the Licensing Committee had acted beyond its powers, which should be used in a judicial and impartial manner, not as an instrument of a campaign. The Court of Appeal unanimously upheld him.
Isitt made four speaking tours in England at the invitation of the United Kingdom Alliance. When T. E. Taylor died in 1911, he succeeded him as member of Parliament for Sydenham, and held the seat until 1925 when he was appointed to the Legislative Council. He worked hard to get the Local Option Bill through Parliament and was successful. Bible in Schools was another cause he worked for and he was prominent in the Boy Scout movement. He was a governor of Canterbury College and was vice-president of the Methodist Centenary Conference in 1922. He founded the firm of L. M. Isitt and Co., booksellers (Christ-church), and was its managing director.
In 1881 he married Agnes, daughter of John Scott Caverhill. One son, Sir Leonard Isitt, was head of the New Zealand Air Staff and another was killed in the 1914–18 war."[5]
Agnes Martha ISITT
Block 36 Plot 181
Born Lyttelton, NZ
Died 27 September 1938 [6]
Her probate is available:
www.archway.archives.govt.nz/ViewFullItem.do?code=20188681
Rifleman Willard Whitmore ISITT
Military number 12400
Poverty Bay Herald, Volume XLIII, Issue 14147, 15 November 1916, Page 4
“Private advice has been received that Private Willard Isitt, younger son of the Rev. L. M. Isitt, M.P. has died from wounds in France, aged 23 years of age. He was engaged in his father’s bookselling business when he enlisted with the 12th Reinforcements. He was a young man of fine grit and determination, and the story told of his enlistment shows the stuff he was made of. He had offered his services several times and been rejected because the sight of one eye was defective. Ultimately he found a way out of the difficulty when in a boxing bout with a friend. He invited and received a solid blow on the defective eye. The result, of course, was to close it up, and before the effect had time to disappear Isitt, presented himself for medical examination, and got through. The Rev. Mr Isitt’s only other son was wounded in the battle of the Somme.”[9]
Willard’s Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/7539.detail?Or...
Willard’s Commonwealth War Graves Commission record:
www.cwgc.org/search/casualty_details.aspx?casualty=268264
His military records are available but with restrictions:
www.archway.archives.govt.nz/ViewFullItem.do?code=18052286
Interesting connection to Willard name:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
Frances Caverhill THORNTON
Nee ISITT. Married Cuthbert THORNTON [registration 1912/3006] [8]
Daughter of Agnes Martha & Leonard Monk ISITT [8]
Herbert John ISITT
Block 36 Plot 177
Born Bedford, England, he was a labourer and had been in NZ 50 years at time of death
Died 14 September 1926 aged 82[7]
Christine Scott CAVERHILL
Block 36 Plot 84
Born Scotland, Spinster and in NZ 41 years at time of death
Died 4 August 1918[10]
L. Miriam ISITT
Nee Lily Miriam LYNN [Marriage registry to Francis Charles ISITT 1929/1800] [8]
References:
[1]
www.nzetc.org/tm/scholarly/MurTemp-fig-MurTemp016b.html
[2]
christchurchcitylibraries.com/Heritage/Cemeteries/Linwood...
[3]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[4]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[5]
www.teara.govt.nz/en/1966/isitt-leonard-monk/1
[6]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[7]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[8]
www.bdmhistoricalrecords.dia.govt.nz/search/
[9]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[10]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
Well peoples, it's that time of year again. My Flickr Year.
Most Comment:
'Good Bye': www.flickr.com/photos/mimi_angel/8647469080/
This was... a 'taking a break photo'. I moved away from my doll-photo taking because everyone was getting into loads of crap and I was through with it. I enjoy a good stir up some times but this past year was the year of the drama-queens/kings.
Most Likes:
'Happy Easter!': www.flickr.com/photos/mimi_angel/8607338349/
Personally, I love this photo. That's all I have to say. :)
Most Views:
'Minus Bar': www.flickr.com/photos/mimi_angel/9680686549/
This was a huge shock to me. This photo had over 500 views within the first 24 hours. I have no clue what happened, because it wasn't 'explored'. So how I got all those views is still stunning to me to this day. The editing on it is very basic, and nothing special is done to it. Up to that point my average view for photos was about 50 views. Now, it's about 200-350. Which is amazing.
Personal Favorites:
'Like Fire, Hell Fire': www.flickr.com/photos/mimi_angel/8972143115/
I was so super stoked to get Esmeralda's dress in a box of barbie junk from a yard sale. I love Disney in general and I was given the chance to re-create the spirit of one of their characters. I also did a crap-load of editing on this photo to make it perfect.
'She's A Princess': www.flickr.com/photos/mimi_angel/9128232741/
My first, and only Disney Store Princess doll. I was so happy to get her on sale, because she, Bell and Elsa are my favorite Disney Princesses. The details on her are mind boggling, because it's all so perfect.
'Principle. Relaunched October 2013': www.flickr.com/photos/mimi_angel/9753592686/
I love my one Fianna doll, she has a classic natural-like beauty to her that I adore.
That was My Flickr Year! I hope this coming year will be better for everyone, because this is a pretty amazing little group we got going and it would be really sad to see it die out.
Happy New Year!
<3 Mimi
Oil Spot 2 Cover Glaze for OS Combo.
33.3 Custer Felspar (used Forshammer)
27.8 Silica
5.6 Kaolin
33.3 Gerstley Borate
ADD
11.1 Zircopax
Oil Spot 1 (first glaze under Cover Glaze)
47.8 G-200 Feldspar (used Forshammer)
23.9 Silica
17.4 Whiting
10.9 Kaolin
ADD
9.8 RIO
Comments: for colors of this glaze, add
Cu. Carb. 4% light green tint to cover glaze
Co. Carb. 4 % strong blue color to cover glaze
RIO (5-12%) 10% added brown to cover glaze
Still could see Rust brown #1 glaze under cover glazes. All have a good contrast between both glazes.
Mixed cover glaze by subbing G. B. with
Frit 3134 and again with local Boran Frit 169.
No visible difference in glazes. Frit 3134 revealed a stronger blue in the cover glaze #2 with Co. Carb.
A variety of authors (Ashkenazi, 2001; Askew, 2007; Gerster, 2006; Rea, 2000; Robertson, 1988) suggest that the Japanese love of historical tourism, be it for Japan related history or histories of pre-modern ideals, is due to the modernisation of Japan. According to these authors, Japanese are seeking a nostalgic return to pre-modern, pre-Western self.
I claim that the the Japanese love of historical theme parks, such as Furusato (home-towns/villages), Heide in Switzerland, Beatrix Potter in the UK, Anne of Green Gables in Prince Edward Island Canada, is indeed because the Japanese are attracted to nostalgia. But I believe the Japanese always have been wallowing in nostalgia because nostalgia is just pandemic in Japan. In the UK nostalgia is for boring old farts like myself, or those of my age or older, but in Japan even young people - my students - like to proclaim that something is "natsukashii!" (nostalgic). Things do not need to be all that old to be nostalgic. Indeed it helps if they are not so that young people can remember them.
The point I want to make is that the Japanese interest in nostalgia has little to do with a yearning for a pre-modernised, pre-Westernised Japan. The Japanese have been into nostalgia for a long time, well before anything that might be described as modern or western and an impact upon Japanese society. Nostalgia lies on the same emotional seam as wabi, sabi and and aware, the wet, masochistic love of the unfolding of time, as manifested in solitude and decay, and the Japanese were into this aesthetic since the dawn of recorded history.
The Japanese love of nostalgia has nothing to do with the West.
I mentioned Matsuo Basho waxing lyrical about ruins (Hudson, 1999) in my previous post. Donald Keene (1999) claims that Basho was so into nostalgia, or at least reliving literary precedent, that he only commented on scenes that had been mentioned by previous poets.
"He (Basho) had absolutely no desire to be the first ever to set foot atop a mountain peak or to notice some site that earlier poets had ignored. On the contrary, no matter how spectacular a landscape might be, unless it had attracted the attention of his predecessors, the lack of poetic overtones deprived it of charm for Basho. When, for example, he travelled along a stretch of the sear of Japan coast that inspired no important poems, he did not mention the scenery" (Keene, 1999, p 311 in Watkins, 2008, p101).
Basho was not alone but part of a tradition. When a lowly warrior was sent from Kurume City (my old town) to Tokyo, then Edo, as part of the alternate attendance/hostage system (Sankinkoutai), he wrote in his diary "While in Edo, we may also go to see the places where Basho visited, and this brings on great nostalgia."(Vaporis, 1996, p296)
One of the many great things about scholars like Donald Keene and Constantine Vaporis is that they can read Japanese from any era. I get the feeling, however, that some of the learned scholars in the tourism and anthropology field, even the main man -- Nelson Graburn ---can not, judging by the fact that they rarely cite sources in the vernacular.
Despite the fact that I am in no way of equal academic calibre to any possibly non-Japanophone scholars, I am okay with Japanese, so this inspired me to have a go at finding an original source, or proof of pre-Western-influenced Japanese nostalgia myself. So I did a quick Google of "nostalgia" and "travel diary" and, since there were two hits for "nostalgia" on the same page, came across the Suma Diary (Kagawa, 1847) about a trip to what is now Hyougo Prefecture, to the ruins of the palace of one of the poets whose poem was featured in the famous collection of 100 poets used on Japanese playing cards, originally from the second most famous old book of poetry (Saeki, 1981). 1847 was more than a decade prior to the opening of Japan to the West.
Here below is the excerpt from the travel diary above, translated with a little help from my Japanese wife, and with my attempt at a modern Japanese, non poetic version in brackets.
願ひし須磨の浦につく。 (願った行き先である須磨の浦に到着しました。）
I arrive at Suma Bay, the place I had been yearning to reach.
先ここよりの見渡し。海上のけしき。（この先からの見渡しは海上の景色）
The view from here is out over the sea.
更に類なし。只あはれあわれと見るのみ。（類がないほど、ただ哀れみな光景だけを見る）
There is nothing like it. Just a wasteland, a wilderness of water.
中々に事の葉に。言続けむも。今更びたり。（書き続けてもなかなか言葉になりません。）
It is not easy to put into words, even if I go on talking. And even now??
家毎に。かの竹簾かげ下ろして。故ありげに住みなしたる。(家ごとにその竹のすだれが下ろされて、理由があるかのように住み。。。。？）
At each house the bamboo blinds are down. As if they have a reason for (not) living here?? (Maybe suggesting that they are waiting).
いかでかゝげ寄らまほしきまで。なつかし。（さっぱり分かりません。懐かしい！）
???? Nostalgic.
案内の翁を雇ひ出たり。先にたして行く行く語らく。あれ見給へ。かの小さき山こそ。（おじいさんの案内者を雇って出発しました。語りながら先に進んでいった。あれ見てよ。この小さい山こそ！
I hired an old man guide. We went on together talking. Look at that. At that little mountain there.
中納言行平の君。この浦に汐くみしておはせし時。（中納言行平という昔の偉い詩人がこの浦から汐をくみにきたとき）
When Lord Yukihira Chunagon went to get water from the bay.
立帰りいなばの山のと。（（百人一首にでる）「立ち別れの因幡の山」のことですよ！）
This is the Inaba Mountain in the poem (one of the 100 that are told at new year).
ながめ給し濱にて侍れ。（眺めて、濱においで？？）
Stare and go (come?) from/to the beach.
いでとく書きとめ給へなどを。？えもあらぬくさぐさの事をいふなむ。（？？）
?????
中々興ある。さるあひだ。（中々興味深い。？？？）
Very interesting! ???
須磨寺を始め。内裏の跡。一の谷。（須磨というお寺を始め、中納言の宮殿の奥の部分の跡。一の谷？）
Starting with Suma temple,then the remains of the palace. The first valley.
上の秋草をさへ。かぞへ見廻りて。（その跡の上に生える草をさえ数えるかように見回っていた）
I even started to count the autumn grass above (the ruins) with my eyes.
海ばたの松陰なる。（海辺の松影になるように）
Becoming like the shadow of a pine (this may be another reference to the poem
to the woman that may have waited for the Lords return.)
敦盛りぬしの塚を拝む。（あつもりの塚を拝む）
I prayed at the burial mound of Atsumori?
たえず浪風の音。ひヾき通ひて。（浪と風の音がたえず響き通って）
And all the while, the sounds of the wind and waves, runs through me.
昔のおもかげ。目の前に浮かびつ。（昔の面影が目の前に浮かびうがってきた）
And the memory of you, (my lord) rises before my eyes.
たちよれば君を忍ぶの草おひてあらぬ露さへおきそはりけり （たちよったら中納言の君を忍ぶ草にあった露さえ落ち添わった。）
Paying my visit, even the dew on the grass that remembers you has increased.
(This is a reference to another ancient poem, and suggests that the author is crying and
thus increasing the dew)
見る處なつかしかるぬはなし。（見るところ、光景は懐かしく思わずにいられない。）
I can't but be nostalgic about what I am seeing.
(Corrections please!)
In other words, the author, went to some lonely spot on the coast of Japane, to the site of the residence of one of the poets who had been famous one thousand years years previously, and then, staring at sea and grass, he felt an image of that lonely ancient love-struck poet spring to mind. And imagining the ancient poet, this author wept, mega-nostalgically. Contra Urry (2002), in this most quintessentially Japanese touristic experience, there was *nothing to be seen*. There was only grass, only sea. There was nothing that the traveller could not have seen in many other places far nearer to home. But at the same time, the author did see, did experience nostalgia and the pity of things (mono no aware), because the traveller called images to mind.
Japanese "site-seeing" (thing seeing: kenbutsu, 見物) is about seeing but not of sights, not of visual things, but rather named sites (meisho) juxtaposed with images in the heart.
Afterword
Whereas words are always differed (Derrida, 1998), mean something in the future, images are always of something in already in the past, which if loved generate nostalgia. The opposite of nostalgia is hope and we, Westerners, are probably awash with it.
Bibliography
Derrida, J. (1998). Of Grammatology. JHU Press.
Hudson, M. (1999). Ruins of identity: Ethnogenesis in the Japanese Islands. University of Hawaii Press.
Keene, D. (1999). Travellers of a Hundred Ages. Columbia University Press.
Vaporis, C. N. (1996). A Tour of Duty: Kurume hanshi Edo kinban nagaya emaki. Monumenta Nipponica, 51(3), 279–307.
Kagawa, K. 香川景周. (1847). 須磨日記 (Suma Diary my trans). In 岸上質賢 (Ed.) "續紀行文集". Retrieved from books.google.co.jp/books?id=qKk9as-h84kC&printsec=fro...
Watkins, L. (2008). Japanese Travel Culture: An Investigation of the Links between Early Japanese Pilgrimage and Modern Japanese Travel Behaviour. New Zealand Journal of Asian Studies, 10(2), 93–110.
【百人一首講座】立ち別れいなばの山の峰に生ふる まつとしきかば今かへり来む─中納言行平 京都せんべい おかき専門店【長岡京小倉山荘】. (n.d.). Retrieved April 24, 2012, from www.ogurasansou.co.jp/site/hyakunin/016.html
Saeki, U. 佐伯梅友. (1981). 古今和歌集. 岩波書店.
Ashkenazi, M. (2001). Omiyage: Constructed Memories and Reconstructed Travel in Japan. In H. Walker (Ed.), Food and the Memory: Proceedings of the Oxford Symposium on Food and Cooker, 2000 (p. 31). Oxford Symposium.
Askew, R. K. (2007). The politics of nostalgia: museum representations of Lafcadio Hearn in Japan. museum and society, 5(3), 131–147.
Gerster, R. (2006). The past as a foreign country: nostalgia and nationalism in contemporary Japanese tourism. Tourism Review International, 9(3), 293–301.
Rea, M. H. (2000). A furusato away from home. Annals of tourism research, 27(3), 638–660.
Robertson, J. (1988). Furusato Japan: the culture and politics of nostalgia. International Journal of Politics, Culture, and Society, 1(4), 494–518.
Urry, J. (2002). The Tourist Gaze. SAGE.
Watkins, L. (2008). Japanese Travel Culture: An Investigation of the Links between Early Japanese Pilgrimage and Modern Japanese Travel Behaviour. New Zealand Journal of Asian Studies, 10(2), 93–110.
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
2-16-08
My name is Lori Zarlenga- Blaquiere. I was born on September 14, 1961 in the state of Rhode Island. I am writing to you for your immediate help. My life is in immediate danger from orders issued by President George W. Bush and Rhode Island Governor Donald Carcieri to
assassinate/murder me. You can contact me at my email LoriZarlenga@gmail.com and
my space.com/lorizz Also, you can find me on “google” by entering my name as keyword. My case is legitimate. Please do not disregard my case.
I have evidence and tapes on top officials and law enforcement among others to support my
claims. The current Rhode Island Senators Sheldon Whitehouse , Senator Jack Reed and former Senator Lincoln Chafee, among others are covering up and will not help me.
I posted a diary on the Daily Kos website on August 12, 2007 with regard to my life being in immediate danger from orders issued by President George W. Bush and Rhode Island Governor Donald Carcieri to assassinate/murder me.
I continued to stay on the Daily Kos website until sometime after 5:00 am and received
comments from the Daily Kos members community. The Daily Kos has over 1 million
members on their website.
On August 12, 2007, I was uploading exhibits, photos, and evidence to the Daily Kos members that support my claims against the United States Government et al.
On August 12, 2007 at approximately between 5:00 am & 6:00 am a West Warwick
Police officer came out to my house at 101 Border Street West Warwick, R.I. and violently banged at the doors at my house and continued to violently bang at the doors of my house for a long period of time in a terrorizing manner. The West Warwick Police Officer was given orders to stop me from getting the truth out to the American public .
I Lori Ann Zarlenga state that on August 21, 2007, a West Warwick Police vehicle came
up behind the vehicle where I was located in the back seat with my 5 year
old granddaughter and my mother Victoria Zarlenga who was seated on the passenger
side and my son Michael Zarlenga who was driving the vehicle on Cowesett Avenue
West Warwick, R.I.
I Lori Ann Zarlenga state that the police officers proceeded to get out of their police
vehicles with their guns drawn and aimed at the vehicle where I was located in the back
seat of the vehicle along with my 5 year old granddaughter, my mother and son .
The Coventry police, East Greenwich Police, the Rhode Island State Police, and the West
Warwick Police were on the scene.
I Lori Ann Zarlenga state that a West Warwick Police Officer pulled me out of the
vehicle where I was located in the back seat near my 5 year old granddaughter, with my
mother and son in the front seat of the vehicle.
I Lori Ann Zarlenga state that the Police proceeded to slam me to the ground and force
handcuffs on me and force me in the back seat of the West Warwick Police Vehicle.
I repeatedly asked the West Warwick Police Officer why the police forced handcuffs on
me and forced me in the back seat of the police vehicle, but the West Warwick Police
Officer repeatedly ignored me.
I continued to ask the West Warwick Police Officer why the police forced handcuffs on
me and forced me in the back seat of the police vehicle, he then stated to me that he was
trying to protect me .
While I was in the West Warwick Police vehicle, I observed police officers saluting to
each other with regard to capturing me.
While I was in the back seat of the West Warwick Police vehicle, a West Warwick Police
Officer asked me if I was injured and if I needed to go to the hospital inorder to lure me
into consenting to go to the hospital.
I stated to the West Warwick Police officer that I did not need to go to the hospital.
The West Warwick Police Officer told me that the fire rescue was going to take me to the
hospital for a psych evaluation.
I stated to the West Warwick Police officer that I did not want to go to the hospital and
that I did not need a pych evaluation. However, the West Warwick Police Officer told me
that I had to get into the Fire Rescue and go to the hospital. As a result, I had no other
choice but be taken by fire rescue to Kent County Memorial Hospital for a psych
evaluation without my consent.
My mother told me that the police officers apologized to her and stated to my mother
that they made a mistake .
I was subsequently taken by ambulance and transferred
to Land mark Medical Center without my consent and held hostage in lock down mental
health unit against my will. All of the evidence that was in my favor was ignored
by the doctors, social workers, and psychiatrist at Kent County Memorial Hospital and
Landmark Medical Center. The doctors, social workers, and psychiatrist at Kent County
Memorial Hospital and Land mark Medical Center manipulated and skewed the true facts
to cause me harm in connection with helping law enforcement and United States
Government from preventing me from exposing the truth to the American people and
my case continuing on Appeal with regard to the criminal acts committed by law
enforcement and the United States Government.
My Mother stated to the psychiatrist and nurses at Landmark Medical Center that I was
not delusional or paranoid and that I have never been a danger to myself or others and
that I have no history of mental health, and that I have never had a history of being
prescribed psychiatric medication and that I did not need psychiatric medication
my complaints against law enforcement are legitimate.
However, Dr. Elahi disregarded my mother statements and proceeded to contact his lawyer to
discuss whether or not he should discharge me, despite all evidence in my favor.
My family member stated to me that nurses at Landmark Medial Center made
statements about being disgusted with Dr. Shahid Elahi for consulting with his lawyer
with regard to whether or not to discharge me and delaying my discharge.
The nurses at Landmark Medical Center stated to me that I did not belong at Landmark
Medical Center Mental Health Unit
I have never had a history of mental illness.
On September 4, 2007, I was discharged from Landmark Medical Center.
I have never had a history of being targeted by the United States Government, Federal
and State law enforcement, among others prior to my L-tryptophan lawsuit.
In August of 2007, I had an Appeal pending in the First Circuit United States Court of
Appeals with regard to my December 7, 2006 Complaint against the United States
Government et al. As a result, of being held hostage in the hospital from August 21, 2007
to September of 2007, along with intimidation from law enforcement, among others in
connection with the United States Government I was unable to respond important
deadlines set by the First Circuit United States Court of Appeals . As a result, my Appeal with the First Circuit United States Court of Appeals is in default/dismissed for lack of
diligent prosecution.
As a result of my ingestion of contaminated L-tryptophan manufactured by Showa
Denko K.K., I developed a disease Eosinphilia Myalgia Syndrome. There are
approximately 5,000 people who ingested contaminated L-tryptophan
manufactured by Showa Denko K.K., and developed a disease Eosinphilia Myalgia
Syndrome. There maybe more unreported cases of Eosinphilia Myalgia
Syndrome caused by ingestion of contaminated L-tryptophan .
The L-tryptophan problem is the fault of the FDA due to lack of enforcement of 172.320,
among other violations of the FDA rules. Therefore, the FDA permitted the continued
illegal use of L-tryptophan.
If the FDA had enforced action against Showa Denko K.K., for violation of the FDA
rules mentioned herein, then L-tryptophan would not have been on the market and sold
to the American Public and caused death and illnesses associated with the sales of L-
tryptophan .
On October 25, 1995, I filed a products liability lawsuit against the Defendants
Showa Denko, K.K., Showa Denko America, Inc. General Nutrition Centers (GNC), et al. in
the State of Rhode Island Superior Court.
My case was transferred to Rhode Island District Court, (Blaquiere v. Showa Denko, K.K.,
Showa Denko America, Inc. General Nutrition Centers (GNC), et al., C.A.No.1:95-629 ).
My case was subsequently transferred for discovery to (MDL) United States District Court
Columbia, South Carolina, C. A. No. 3:96-361-0.
My case (Blaquiere v. Showa Denko, K.K., Showa Denko America, Inc. General
Nutrition Centers (GNC), et al., (C.A.No.1:95-629 ) was remanded to Rhode Island
District Court in 2003.
I hired a lawyer Dennis S. Mackin in 2000/2001 who used my case to file discovery
motions in the(MDL) United States District Court Columbia, South Carolina, (C. A. No. 3:96-
361-0), damaging to the defendant ShowaDenkoK.K.,their lawyers,Cleary,Gottlieb,Steen,and
Hamilton, and the United States Government.
My former lawyer Dennis Mackin was paid off to withdraw from my case and to
not go forward with the discovery motions and depositions damaging to Showa
Denko K.K., their lawyers, and the United States Government.
The discovery sought in my case that my former attorney Dennis Mackin filed in 2001 in the(MDL) United States District Court Columbia, South Carolina, (C. A. No. 3:96-361-0) was to demonstrate that Showa Denko K.K. and its attorneys have been involved in a continuing conspiracy to not only circumvent the discovery process, but to manipulate any scientific examination of Showa Denko K.K.’s reckless and wanton conduct”.
The United States Government wiretapped my phones, hacked my computers, surviellanced me during my L-tryptophan litigation and to the present. The United States Government obstructed justice, unlawfully sabotage my case inside and outside of the court system at every level.
My former attorney Dennis Mackin stated in his October 12, 2001 Reply of Plaintiff to Defendant's Motion to Qaush Deposition of Kenneth Rabin , that "additional questions must be answered about political pressure brought to bear upon members of the South Carolina Congressional delegation."" What information was given to Senator Thurmond, Senator Hollings and Congressman Ravenell?"
Documents made by Showa Denko K.K. included a budget attached to their public
relation scheme which was an amount determined for congressional
contracts, including the South Carolina delegation which was for 16, 000.00.
My former attorney Dennis Mackin stated in his motions that, “ The research of
this Eosinophilia Myalgia Syndrome has been twisted by the endless
manipulations by Showa Denko K.K and their lawyers,Cleary,Gottlieb,Steen,and
Hamilton and their confederates”. “ Worst of all, the scientific literature now
contains representations by shills for Showa Denko K.K. that will cause erroneous
medical science in the future”.
The United States Government is involved in the cover up .
My former attorney Dennis Mackin informed me that a promoter of an EMS
support group was being surveillanced and that anyone that who was viewed as a
threat was being surveillanced and intelligence was gathered .
The defendant Showa Denko K.K. a corrupt corporate giant, their corrupt lawyers,
and the United States Government conspired with all the courts at every level to
sabotage my case and the L-tryptophan litigation.
Showa Denko K.K., their lawyers, and the United States Government view me as
a threat, since my lawsuit still remains open that is damaging against Showa
Denko K.K. and General Nutrition Centers (GNC), among others. Also, Showa Denko K.K., their lawyers, and the United States Government, President George W. Bush and Rhode Island Governor Donald Carcieri fear the threat of civil and criminal action against them for their unlawful criminal activities.
I pose a threat to Showa Denko K.K. and the United States Government since,
my L-tryptophan lawsuit could re-open previous settlements entered into by
2,000- 5,000 L-tryptophan litigants on the basis of fraudulent inducement and the
United States Government's involvement in the cover up.
They were entered into by L-tryptophan Plaintiffs who were unaware of the defendants fraudulent concealment and the United States Government's cover up.
Showa Denko K.K., the United States Government, President George W. Bush and
Rhode Island Governor Donald Carcieri fear a movie being made and publicizing
their criminal activities which has continued to date.
President George W. Bush's father former President George H. W. Bush Sr. was
President of the United States from 1989 to 1993 during the Eosiophilia Myalgia Syndrome epidemic.
I filed a Complaint on December 7, 2006 against the United States Government et al. in
the United States District Court of Rhode Island, CA. No. 06-534 ML. My complaint is
pending in the First Circuit Court of Appeals. The United States Government have hired
my family, among others as informants to surveillance and gather intelligence on me.
At the time that I filed my December 7, 2006 complaint against a number of defendants
who are employed by the United States Government, I was unaware of orders issued by
President George W. Bush and Rhode Island Governor Donald Carcieri to assasinate/
murder me.
I spoke to a state senator with regard to my circumstances of law enforcement on the state and federal level that have harassed, targeted, survillenced me and have come out to my house and follow me on a daily basis. Also, the West Warwick police have even parked at my grandchild’s school shortly after I exposed President George W. Bush orders to assassinate/murder me.
The state senator stated to me that federal law enforcement, the Attorney General of the United States, and the Department of Justice are employed by President George W. Bush.
Moreover, my case is not isolated by a small number of police and law enforcement targeting and surveillanceing me. There are to many law enforcement and police and government officials organized at the highest level on the federal and local level that have targeted and surviellanced me. The state senator stated that the orders to murder me are coming from the President George W. Bush .
Further, the Rhode Island State Police who have been targeting and surviellancing me are given orders from Rhode Island Governor Donald Carcieri
In June or July of 2007, President George W. Bush came to Rhode Island and went on a
private helicopter ride with Rhode Island Governor Donald Carcieri and had discussions.
Shortly after I filed my December 7, 2006 complaint against the United States
Government et al, two key defendants named in my complaint retired Captain Gregory
Johnson of the West Warwick Police Department and Supervisory Special Agent
Nicholas Murphy of the Federal Bureau of investigation of R.I., and there may be others
who have also retired.
I am targeted, followed, and surveillanced by police officers, among others in the towns and places I travel in the state of Rhode Island and out of the state of Rhode Island on a daily basis.
The level of intensity and the number of police targeting, surviellancing, and following me has increased after I filed my December 7, 2006 complaint. And now since I have exposed President George W. Bush who issued orders to assassinate/murder me, the level of intensity and the number of police surviellacing and following me has further increased.
My telephones are wiretapped. The United States Government is hacking my computers.
The Federal Bureau of investigation, among others covered up the investigation of the hacking of my computers.
The Federal Bureau of investigation, United States Attorneys Office , Attorney Generals office, Department of Justice, among others are covering up and aware of the fact that I was kidnapped and assaulted by a Warwick Police Officer Joseph Mee on January 22, 2006 that was organized at the highest level of United States Government to assassinate/ murder me.
Further, law enforcement, among others are covering up the fact that on December 15, 2005 and December 16, 2005, Captain Gregg Johnson and Officer Patrick Kelly and the Kent County Memorial Hospital Emergency Room Staff violated my constitutional rights and deprived me of liberty against my will and without my consent to cause me harm in connection with the United States Government and Showa Denko K.K.
On April 14, 2006, I spoke to Laura Lineberry who is Condalezza Rice's personal assistant. Laura Lineberry informed me that she could not help me with regard to my circumstances mentioned herein, and that I should leave a message with the Representative of Secretary of State. I left a message with the Representative of Secretary of State, but no one returned my call.
On April 14, 2006, I contacted the White House comments department in Washington, DC for help with regard to my circumstances mentioned herein, and spoke to a young lady number(77) who stated she would pass on my comments to her supervisor and that her supervisor would summarize my comments and give it to President Bush. On April 14, 2006, I was unaware that President George W. Bush issued orders to assassinate/ murder me.
President George W. Bush, Condalezza Rice's office , nor anyone associated with the White House, responded in any way shape or form to my plea for help with regard to my circumstances mentioned herein.
I have evidence of my telephone calls to the White House, among others.
The IP Addresses with regard to the hacking of my computers have been traced to Washington, D.C.
You can view my complaint at pacer.psc.uscourts.gov.
My login is: lz0129 My password is 3y6!pomz ( party name is under my married name of Blaquiere) December 8, 2006 thru December 8, 2007 is the date you would use to view my complaint, since December 8, 2006 is the date my complaint was entered by the United States District Court of Rhode Island.
The United States District Court of Rhode Island omitted my supporting exhibits on
Pacer website and have intentionally obstructed my case and deprived me of a fair judicial process, inorder to protect and insulate the United States Government et al.
UNITED STATES GOVERNMENT DOES NOT INITIATE ACTION AGAINST SHOWA DENKO K.K. FOR THE FOLLOWING VIOLATIONS:
The L-tryptophan problem is the fault of the FDA due to lack of enforcement of 172.320, among other
violations of the FDA rules. Therefore, the FDA permitted the continued illegal use of L-tryptophan.
If the FDA had enforced action against Showa Denko K.K.,for violation of the FDA rules mentioned
herein, then L-tryptophan would not have been on the market and sold to the American Public and
caused death and illnesses associated with the sales of L-tryptophan in violation of the FDA rule.
In 1970 FDA considered L-tryptophan (amino acids) , when used as nutrients or dietary supplements, to
be generally recognized as safe (GRAS) for those uses, and published that fact in the code of Federal
Regulations.
In 1972 FDA engaged in rule making to withdraw and remove approximately twenty amino acids
including L-tryptophan from the GRAS list ( generally recognized as safe) and to regulate them as
approved food additives that could not be sold without FDA's prior approval in the form of a food
additive petition, (37 Fed. Reg. 6938; April 6, 1972).
In 1973 FDA promulgated a binding substantive rule that is presently on the books, the Food additive
regulation that makes all amino acids, when used as components of dietary supplements,
unsafe food additives that violate the adulteration provisions of Act. 21 C.F.R. 172. 320.
In 1977, FDA seized L-tryptophan tablets on the grounds that the L-tryptophan that they contained
was an unapproved food additive. The court, however, found for the manufacturer of the tablets
because L-tryptophan was still on the FDA's GRAS list, (FDA had failed to remove it after the 1973
rulemaking), and the manufacturer was acting in accordance with the FDA's regulation.
In 1977, FDA deleted the listing of twenty amino acids that were the subject of the 1973 rulemaking
form the GRAS list, ( 42 Fed. Reg. 56720; October 28, 1977).
The FDA never renewed its regulatory action against dietary supplements containing L-tryptophan .
The food additive regulation that the FDA adopted in 1973 does not list (approve) L-tryptophan for
this use, and foods that contain unapproved food additive are deemed to be adulterated (21 U.S.C. 342
(a) (2) (c)).
FDA has not brought an action since 1977 against an L-tryptophan dietary supplement.
The FDA sought to enforce the rule prohibiting the use of amino acids in dietary supplements in two
seizure actions against products containing L-tryptophan. Those seizure actions were not successful.
The U.S. Government voluntarily dismissed the second lawsuit because the lawsuit was controlled by
a very hostile judge and the government feared that it would obtain an adverse ruling that would
insulate all dietary supplements from regulation under the food additive provisions of the act.
The FDA has not made any efforts to regulate amino acids since 1982. FDA ignored the food additive
regulations since 1982. In 1990, there was evidence showing that 30 amino acids other than L-
tryptophan were being sold by at least 22 companies.
The FDA has failed to date to bring charges against Showa Denko K.K. Showa Denko K.K. was in
violation of the FDA Food additive regulation that makes all amino acids, when used as components of
dietary supplements, unsafe food additives that violate the adulteration provisions of Act. 21
C.F.R. 172. 320. FDA should have gone after Showa Denko K.K. on an adulteration charge that the
L-tryptophan in the supplements is an unapproved food additive under 21 U.S.C. 342 (a) (2) (c).
Also, FDA failed to bring charges against Showa Denko K.K. with regard to L-
tryptophan being unfit for food, ( 21 U.S.C. 342 (a) (3). L-trytophan associated with illness
Eosinophilia Myalgia Syndrome, is unfit for food.
The FDA could have gone after L-tryptophan supplements as drugs. The FDA could have
developed evidence that L-tryptophan used for therapeutic purposes to combat sleeplessness and PMS
which is what L-tryptophan was advertized for is considered a drug and the FDA finding L-tryptophan
had not met the FDA's rational food supplement test would permit the FDA to bring drug charges
against the product under either 21 U.S.C. 321(g) (1) (B) or (c), National Nutritional Foods
Association v. Mathews, 557 F.2nd 325, 334 ( 2d Cir. 1977).
If the FDA had enforced action against Showa Denko K.K.,for violation of the FDA rules mentioned
herein, then L-tryptophan would not have been on the market and sold to the American Public and
caused death and illnesses associated with the sales of L-tryptophan in violation of the FDA rule.
On the Rhode Island ACLU website, there is a lawsuit against the United States
Government for Illegally surviellacing individuals attending a peace group in Rhode
Island and in other states.
The United States Government has files on these peace groups and have labeled these
peace group individuals as a threat because their simply anti-war.
The illegal acts of our United States Government is not an example of democracy, it is a
Dictatorship ruled by a dictator President George W. Bush who has committed crimes
against humanity and has violated our human rights.
Representative John Conyers Jr, was the Chairman re: the July 18, 1991 hearing on the FDA oversight of L-tryptophan. Representative John Conyers Jr, is currently the Chairman of the U.S.
House of Representatives Committee on the Judiciary who can call for an investigation and immediate congressional hearings into this matter.
Please help me by writing to congress and. to investigate and call for immediate congressional hearings into this matter. Also, contact Rhode Island Senator Sheldon Whitehouse and Senator Jack Reed to investigate and call for congressional hearings into this matter. If the American people place enough political pressure to investigate and call for congressional hearings into this matter, then an investigation into this matter will go forward and the truth will be exposed to the American people.
Also, please contact Senate Majority Leader, Senator Harry Reid, Senate Judiciary Chairman Patrick Leahy of Vermont, Senator Arlen Specter, Senator Charles E. Schumer, Senator Joseph R. Biden Jr., Senator John McCain, Senator Hillary Clinton, Senator Barack Obama, and all members of the Senate to call for investigation and congressional hearings with regard to law enforcement engaged in an ongoing organized crime to assassinate/murder me by orders issued by President George W. Bush.
President George W. Bush has scammed the American people into believing that the Iraq
war is a "just war" and that the United States military are fighting for democracy,
freedom and for our safety here at home, and yet at the same time President George W.
Bush is committing the worst crimes in american history against innocent american
citizens.
Please expedite the above and contact me at my email: LoriZarlenga@hotmail.com
You can view documents and obtain information about L-tryptophan and Eosinophilia Myalgia Syndrome on the National EMS Support Group website at www.nemsn.org
You can find me at myspace.com/lorizz
Also, you can find me at my website www.tiptopwebsite.com/lorizz.
I posted a letter explaining in more detail on my website and on my space.com/lorizz
If you have any questions or want to view my exhibits that support my December 7, 2006 complaint filed in the United States District Court of Rhode Island, then you can e-mail me and I will send you attachments you can view .
Thank You, Lori Zarlenga
Thank you to all who view, favorite, and comment...
.
© MMXXV • • All rights reserved
Restrictions apply on use and/or reproduction.
Please respect my copyright and do not use this image on any business or personal website, blog site, facebook page, pinterest, or other media without my written permission.
Thank you.
.
shoot it, don't 'pute it
.
☕ v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v^v ✔
Ξ |||
.
Imagine Peace
.
peace takes work
war takes lives
.
If everyone demanded peace instead of another television set, then there'd be peace.
- John Lennon
.
Peace is always beautiful
- Walt Whitman
.
One does not export democracy in an armored vehicle.
- Jacques Chirac
.
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.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Tired if people asking me to ship first when I've done a bunch of deals on here without any problems.
A comment flooded in yesterday on a Daffodils spinning on a turntable long exposure shot (thanks [https://www.flickr.com/photos/196782181@N06] ) about spinning the camera instead. Weather too grot for the particularly scary idea I've used before so I hung my camera off a sort of string cradle under a cantilevered tripod arm and spun it around while swinging eccentrically (having dug my proper strobing flash out)
Looks like I've captured the moment where it hit and shattered the vase (it didn't) but that's just the strobe!
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
For the first time in so so long, I went back to Leeds First Friday!
It's moved venue as the Cosmopolitan Hotel has closed for refurbishment so it now kicks off in the Marriott. The venue is much better - bigger, more room, ore seating, more bar staff too.
They also have a huge mirror which was great for group shots - unfortunately, after this, the hotel deicded to put big advertising stickers on the mirror so you can't use it like that ny more. Ah well.
Was absolutely brilliant to meet up with friends I hadn't seen in so long! And make new ones too.
After the Marriott we went to Fibre then The Bridge then Smokestackc. It was an awesome night!
In Bar Fibre.
113 Likes on Instagram
14 Comments on Instagram:
joanstewart1: Wow what a beautiful photo @gregweir this is a place I would love to visit!
iancameronsmith: I took this exact same photo a few weeks ago
patricepaquette: Awesome picture, @gregweir!
gregweir: Thanks @patricepaquette you have more than a few awesome shots in your profile too.
patricepaquette: Thank you very much, @gregweir! :-)
cookiecuckoo: Very pretty!
halirosborough: You have such a great gallery!
gregweir: @halirosborough thanks. I've been luck enough to travel to some interesting places and to live in a beautiful part of the world. Your own gallery has some great shots too, which makes your comment all the more appreciated.
© All rights reserved. Use without permission is illegal
facebook page: www.facebook.com/AlBruniPhotographies
ظمآن تائهٌ حيران
أشتكي الحرمان
من بريق النور
غربان تملؤ الأغصان
غابت الألحان
غابت الطيور
سراب كان لي كالماء
و الخراب يملؤ الأرجاء
و الأشجار تموت
و في من حولي لا أحياء
أحيا في الحرمان مهجور
كان النور ينير لدربي أفراح الأيام
و الأطيار تغرد حولي تشدو بالأنغام
ضاعت الأحلام
و ابتدى الظلام ينسج الآلام
من خيوط النور
و النور بان خلف السور
بالسنا مغمور
و الهنا قد بان
مجبور و قلبي مأسور
لماضٍ مسرور
يجهل الأحزان
لكن ظلمات الأمس قد شقت وثاقي
و بريق النور قد زاد اشتياقي
فمتى يا قيد تكتب لي عتاقي
و العذاب زادني عناء
و الخراب يملؤ الأرجاء
و الأصفاد تقطع قلبي تجعله أشلاء
في ظلام الليل المنثور
لا يا قيد سئمت حياتي من بين الأموات
لن أرضى بالعيش وحيداً تصحبني الظلمات
طرت كالعصفور
و ارتقيت السور
ثم عشت النور
في ظلال الأمان
أطيار تملؤ الأشجار
حولها الأنهار حولها الزهور
أقمار تبعث الأنوار
تسحر الأنظار تبعث السرور
ظمـــآن . .
*انشودة لريان الشيحه
:
* Please do NOT use this photo without my permission *
© All rights reserved to Me
p.s : COMMENT with your last pic & comment copy & paste sure.. will be delete ,,
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.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
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