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I haven't posted many photos from my time in Gjøvik. There is many reasons for this. First of all I didn't like the place so much so I never took many photos. Second, I never liked any of my photos taken there, so I never posted them. Third, the scenery is not as spectacular of beautiful as it is close to my home, so I never felt like posting them.
I anyway decided it is time to post some now. I will make one post of a collection of each month i spent there. This is the a mix from all three years I lived there, but mostly my last year. I then did a challenge with myself to take at least one photo each day to remember the feel of the place after I left.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[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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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
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#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
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Mercer County September 9/11 Memorial
"The Event
On September 11, 2001, America suffered an assault on its home soil that resulted in almost 3,000 dead and countless others physically and emotionally wounded. The victims were nationals of more than 70 countries, making this tragedy global in impact. Dedicated on this, the 11 Day of September, 2011 on the 10th Anniversary of September 11, this memorial is a lasting tribute to the heroes who perished.
Lest we forget.
Mercer County Executive Brian M. Hughes and the Mercer County Board of Chosen Freeholders"
"The Sculpture
The Twin Towers of the World Trade Center in New York City are an icon of the events of September 11, 2001, and a constant reminder of the human loss there, at the Pentagon in Washington D.C. and in Shanksville, Pennsylvania. This monument displays a segment of a steel girder salvaged from the World Trade Center site in the aftermath of the attack. The steel cable was part of a World Trade Center elevator and was acquired only a few months before tragedy struck. They are displayed here in a simple setting to keep fresh in our memories the stark reality of September 11th and to encourage reflection on the events of that day and their enduring consequences."
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The design of the Memorial was commissioned by the Mercer County Park Commission, through Kevin Bannon, Executive Director. The design team for the Memorial was led by Michael Sullivan, ASLA, AICP of Clarke Caton Hintz, Architecture, Planning and Landscape Architecture. Geoff Vaughn, ASLA was the project designer for Clarke Caton Hintz.
The Memorial design team included:
Peter Abrams and Erik Hendrickson of Trenton Atelier, provided the wire rope (cable) segments and designed the configuration of the cables and the way in which they engage the monumental wall and the steel girder from the World Trade Center.
John Harrison and Richard Miller of Harrison Hamnett, provided structural engineering design.
Frank Tindall of Kelter and Gilligo, provided electrical engineering design.
Martin Katz of Princeton Junction Engineering, provided surveying and base plans.
(press packet information courtesy of Michael Sullivan)
The Mercer County September 11 Memorial is located in the Marina section of Mercer County Park in West Windsor, New Jersey - Google Map -
Miles from Ground Zero: 58
I appreciate all your comments, favs, notes and expos, long or short!
Thank you very much to all!
__
Balneario Camboriú - Santa Catarina - Brasil
More Info: - Wikipedia -.-
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© Pablo Reinsch Photography
Please don't use this image without my permission.
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| Large and Black or pres L || Facebook || Tumblr. |
- -
- Canon EOS 5D Mark II
- Canon EF 70-200mm F4L IS USM
- f/4
- 1/800
- 70mm
- ISO 200
- Exposición 0 EV
- No Flash
- Shoot in RAW and processed with Lightroom
Posted for overseven years with no description, and only a few basic keywords, this photo amassed a measly 136 views, with zero comments and just one fave.
The following list (added November 2019) is an experiment to determine the effectiveness of keywords in directing traffic to photos.
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Gaaaah, New York City!! I want to upload them all, but I will be patient. I had sooo much fun yesterday. This photo I took right outside of Central Park, near 5th Avenue, and 66th.The Bokeh people, are my daughter and my friend Meggy and my sister Natalie. I wish I had lowered my Iso and shutter speed, to really convey how fast those pinwheels were spinning. It was a windy day yesterday!!
There are some more pics in comments, of my favorite street photos.
An African spoonbill feeds in a watering hole in Ngorongoro Crater, northern Tanzania. c.2019 John M. Hudson | jmhudson1.com
Part of the long south front of Alexandra Palace, with the former BBC TV mast above the east tower.
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First in a series of photos and comments about Cllr Charles Adje and how he carried out some vital tasks on behalf of Haringey Council.
This one comments on events arising from the First Walklate Report.
► Click here for Part 2 ─ Adje's Pally.
══════════════════════════════════════
In October 2008 Alexandra Palace was back in the news with publication of the first Walklate Report. Martin Walklate's measured, factual and independent report examined events surrounding the grant of a licence to Firoka (Alexandra Palace) Ltd in May 2007.
With justification, Haringey's local press focused on the role of former Council Leader, Cllr Charles Adje who chaired the Alexandra Palace Board at the time. ( Click to read the reports and editorial in the Hampstead & Highgate Express 25 September 2008. )
Cllr Adje's most interesting reply was printed in the Letters page of the Ham & High on 2 October 2008. That week is not included in the paper's online archive, so here it is.
══════════════════════════════════════
(Hampstead & Highgate Express 2 October 2008.)
Charles Adje responds to criticisms over damning Ally Pally report
I read with incredulity your comments on the Walklate Ally Pally report (Call for heads to roll after shocking Ally Pally report, H&H Broadway September 25). To state that the whole deal was done behind closed doors is absurd.
Board members were informed of the financial situation and of contracts being terminated or dwindling. Firoka was becoming impatient and was concerned about this, the unions were concerned about the way their members were being dealt with regarding TUPE negotiations, and staff were also leaving to take up jobs elsewhere due to the continuing uncertainty.
Firoka had the resources to move things forward and the potential to channel business to the Palace.
The Alexandra Palace Trading Company was also being wound up as it was in deficit, and the board ran the risk of trading with an insolvent company (as reported by officers at the time). The two independent non-executive directors had already stood down and liquidators were on standby to wind down the company.
You will be aware that the company has its own accountants and auditors. Council officers were aware of this and I believe provisions had been made to this effect.
In order to ensure the future of the assets and that staff were provided with some certainty for the future and to further lock Firoka in, the Board of Trustees and of the trading company decided to second the staff and grant a licence to Firoka Alexandra Palace Limited for a limited period.
At no time did any board member query this decision or state that they did not understand what was being proposed. The decision to transfer was unanimous. The Leader of the Council and the Chief Executive were fully conversant with the process.
I am certain that the interim licence would not have been granted if board members had been told that the judicial review would go against the Charity Commission or the board. It is, however, regrettable that officers did not seek legal or counsel's opinion to finalise the licence.
Counsel's opinion was sought by officers regarding the judicial review and the chair of the Board of Trustees, the council leader and the chief executive were fully conversant with the opinion.
The Walklate report infers that board members were not competent and casts aspersions on their ability, their hard work and good intentions. The report failed to reflect the fact that apart from one board member who had been on the board for some time, the other members, including myself at the time, were new appointees with no previous involvement with the board.
We needed to complete the transfer process and there was no reserve bidder or plan 'B'. We were faced with a fait accompli. We therefore had to make do with what we inherited.
I should also like to state that I have had no dealings in the affairs of the Palace since I left as Chair. I do not know how Mr Walklate's service came to be commissioned, nor was I consulted in terms of his remit.
The board's aim at all times was to transfer the risks and secure the future of the assets and the staff, although this strategy had its critics.
The Walklate report and your lead comment belittle the £50m investment by Firoka, a project which commenced in 2004 and which I believe to have been the second attempt to transfer the risks and secure the future of the assets.
It should be noted that the transfer did not collapse as a result of the licence issue, as the licence was issued for a limited period. The licence should have been terminated immediately after the outcome of the judicial review as the need for it to continue no longer existed.
It should also be borne in mind that Firoka 'walked' as a result of the inaction on the part of the board to progress matters, (according to their press statement) which you also published, and not as a result of issue of the licence.
We had never denied that there had been longstanding governance problems with the Palace. The board was faced with a dilemma: whether to spend its energy on the issue of governance as inherited (which is a perennial issue) or to focus on the transfer (which would have resolved the governance issue as the trading company would have been liquidated following the transfer).
The report and your comments seem to infer that this all happened in my term as chair, which is not the case.
My aim and that of my Labour colleagues has always been and remains the same, to safeguard the future of the Palace and lift the burden from the Haringey taxpayer.
Finally, it should be noted that I asked for the whole report to be made public rather than parts of it, as I have nothing to hide.
As ever, I will continue to work hard for the benefit and interest of the people of our borough, not just for the few.
Cllr Charles Adje
Labour Member for White Hart Lane Ward
Haringey Council
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My Comment
I found this an odd letter. To me, at least, it seems to present Cllr Adje as a new chap on the Board who had "inherited" problems he didn't really grasp. Almost as if he had not been the Council Leader during the previous two years. (May 2004 - May 2006). Nor a member of the Council's ruling "cabinet" from 2000-04 with responsibility for Finance.
Unfortunately, the mess presided over by Cllr Adje risked obscuring the hard work of the Board and solid progress made by his successor as Chair, Cllr Matt Cooke.
The LibDem opposition on Haringey Council demanded Cllr Adje's resignation from his (then) role as "cabinet" councillor in charge of "Resources". This may have seemed a bit unfair - given that he'd been off the Ally Pally board for eighteen months. But as they pointed out, Cllr Adje was then responsible for Haringey's Finances, Property, Council Tax, Procurement, IT, Personnel, and Organisational Development.
The First Walklate Report is long and complex. Even so, I hope as many people as possible download it and make their own minds up.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Leeds First Friday. Very sociable and lots of fun!
We started in Bridge End Social then on to the Pack Horse, then on to The End, followed by Behind Closed Doors then a lost drink at Smokestack before heading back to the hotel and to bed.
The Bridge.
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but will be returning faves "Share + Look"
All best wish happy and take care 2022
Aber Lin
March/24/2022
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ift.tt/2fIKnfW #Armored motor car (SdKfz 251) before the Senate-house casemate. Full album in comments. (Paris Libéré, 1944) [2000x1333] #history #retro #vintage #dh #HistoryPorn ift.tt/2eUFz82 via Histolines
Photos taken at the GROUNDS FOR SCULPTURE in Hamilton NJ USA on June 24th, 2009 where I met these nice people from Texas and Pa. I showed them around the Sculpture Park. I wish we could have had more time to spend walking around because they didn't get to see the whole park. Besides from a few getting tired and the rain we had to end the day. Hopefully You guys will get to look at all the photos and know I am deeply grateful for the gift you gave me. You really didn't have to do that. But everytime I look at the bird sculpture I will think of you guys. Its not everyday you meet such kind and warm people as you guys. Thanks again for a lovely day. I enjoyed meeting and talking with all of yous. If you get a chance email me at my Flickr address - just click on my icon and go down to Flickrmail click on that and you can email me- you may have to join Flickr to do so. its free. I would love to hear from you. Thanks again. I don't have time to post all the photos from the day. so I hope you guys keep checking back to view them and also to view some of my other photos. You can also comment under the photos. Thanks again for the lovely day.
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Frozen in Time photos by Marianne.Unauthorized use or reproduction for any reason is prohibited.
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Leeds Pride 2019 - words are wholly inadequate to describe what an amazing day this was. The outpouring of love and togetherness was jaw-dropping, the crowds along the streets were even bigger than last year! My favourite day of the year, as has been the case for the last 3 years since my first one.
It makes me fill up just going back through all these memories.
Before the parade, in and around the Cosmo.
With the lovely Ruby.
ON LEFT IS ME DAUGHTER
WEARING
-DOUX CHILL HAIRSTYLE
.MILA. BELLIES INITHIUM [TONE ALMOND]
.MILA. BODY SKINS INITHIUM
.MILA. CLEAVAGES INITHIUM
.MILA. DANA SKIN [ALMOND]LELUTKA EVO X
INITHIUM KUPRA BODY
[RAIRE] ROSALIA SHAPE-LELUTKA LILLY+ KUPRA
LELUTKA LILLY HEAD 3.1
HAVOC. C-STRING GIFT JANUARY
LYNN DRESS LATEX- UNPACK (LCC)
STACY LEATHER HEELS UNPACK HUD (LCC)
:::CHICCHIC::: STRAWBERRY ICE CREAM
ON MY RIGHT IS MY AMAZINGLY STUNNING MUM
SAMITRA64
IF YOU WOULD LIKE TO KNOW MORE ABOUT WHAT SHE IS WEARING THEN PLEASE HEAD ON OVER TO HER PAGE DROP HER A FOLLOW AND SHARE THE LOVE
MUCH LOVE <3 <3
Visit this location at .:Cosmopolitan Events & Shopping Town:. in Second Life
2nd picture in the comment box
The Courts is an early Georgian mansion built in the baroque style. It was described as newly-built in 1731 when it and adjacent dyehouse and workshops belonged to the clothier John Phelps. At the end of the 18th century a woollen cloth factory was built there, but all the industrial works were demolished a century later.
The Courts Gardens were initially designed by Dr [later Sir] George Hastings 1902-1905. Much of what can be seen today was planted by Major Clarence and Lady Cecilie Goff between 1921 and 1943, when he gave it and the house to the National Trust.
The village of Holt is a compact rectangular settlement set in an oddly shaped parish, with a ‘tail’ of land south of Forewoods Common, that includes Great Bradford Wood and Lady Down Farm. This seems to have come about because Holt was part of the ancient manor and parish of Bradford and when the urban boundaries of Bradford were defined as roughly circular, this area of land lay outside them and could only be given to Holt. The manor house of Holt lies to the north west of the village and has had no settlement associated with it since medieval times. The river Avon is in the south of the parish and forms part of the southern boundary while the Kennet and Avon canal passes through the southernmost part of the parish.
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WIZARDS OF WAVERLY PLACE - Selena Gomez stars as Alex Russo on Disney Channel's "Wizards of Waverly Place." (DISNEY CHANNEL/CRAIG SJODIN).
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This is me out in Manchester, this is in Via with some girls on a night out around the bars of Canal Street.
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I was doing some stuff, experimental work. Kind of like 3-d moire patterns, and then my Apple computer died. No more access to Photoshop or Illustrator.
Maybe I crossed the border?
No, do not venture there.
Written on June 30, 2019.
Now, tell me how easy your life is.
Back to my original comments.
“It was nothing but a hole, a mouth open wide. You could lean over the edge and peer down to see nothing. All I knew about the well was its frightening depth. It was deep beyond measuring, and crammed full of darkness, as if all the world’s darkness had been boiled down to their ultimate density.”
― Haruki Murakami
I have not read the book this quote is from, Norwegian Wood. All I have read by Murakami is short stories and perhaps an excerpt.
This is experimental work. Two grids in Illustrator this time, each with only three columns and three rows, one with appearance to edge and the other with appearance to center. Imported into Photoshop, one layer on top of the other. Then some warping, changes in blending mode, gradient map, levels, curves, etc.
no comment
taken : my lil sis but my cam XP
edit : me
model : my nephew and some that i hate him alot , me
I created these a little while ago, using most of those oh-so-familiar comic non-verbal balloons, mainly to create icons for myself, and little simple designs I might enjoy on my own t-shirts this summer. If any interest you, I've put together a CafePress shop called No Comment
I want the apron. I'm very much the bitchy chef in the kitchen.
Comments always appreciated - I love to hear your feedback! xx
I took a chance and ordered some white jeans from eBay, with no idea whether they would work or not, but I was over the moon with the results! I can see me wearing this outfit or a variation of it quite a lot!
Lots of pics from this photo session - sorry, I was feeling a bit more self-indulgent than usual, lol!
Wishing you all a great weekend - I'm about to leave for a long weekend in Lincoln with Gemma, so expect more Lincoln pics soon!