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Trade paperback - Ballantine Books-Del Rey - ISBN 978-0-345-46151-3 - first edition published 2003
comments by CR:
The Coming of Conan The Cimmerian - [0745 - 2017-03-27]
My first introduction to "Conan" were the Lancer paperbacks I starting buying in 1966. All of the Lancer editions were edited by or co-written with other authors mostly L. Sprague deCamp. How this "editing and co-authorship" took place 30 years after Howard's death was never adequately explained. Nonetheless I found in the Conan tales a creditable character that excited my teen-age imagination.
Howard was a prolific writer and his Conan stories were one of many characters and general themes he wrote about.
Fortunately readers appreciation for Howard's Conan stories took root and starting approximately 2002 a handsome series of trade paperbacks were published by Ballantine Books. Robert E. Howard (1906-36) is know today primarily as the author who introduced Conan to the reading public which in turn created the genre of sword and sorcery fiction. What is not as well known is that Howard in his short life had published a couple hundred stories. The majority were supernatural themed fictions with gallant protagonists but were not all "Conan" stories.
Ten of the thirteen stories in this Ballantine edition, "The Coming of Conan The Cimmerian" were first published in Wierd Tales magazine during 1932-34. The remaining three were resurrected and published in various publication after his death.
The Stories in the order they appear with first publication in ():
The Phoenix on the Sword (1932)
Conan the barbarian is King(!) and is the subject of a palace coup d'état. An ancient wizard impresses the sign of the phoenix on his sword giving him the measured advantage in a duel with a supernatural foe.
The Frost-Giants Daughter (1976)
After a bloody battle in the frozen north Conan, the sole survivor, is mesmerized by the erotic vision of an ice maiden. Driven by his lust he follows her relentlessly until the Frost-Giant cools his ardor.
The God in the Bowl (1975)
Conan is hired by a foppish courtesan to pilfer a jewel from a museum of mystical artifacts. The museums overseer is found strangled and Conan is suspected but a minion of Set, the evil snake god, is the true perpetrator of the strangulation.
The Tower of the Elephant (1933)
A 150 foot tower houses an evil wizard and his mysterious jewel with magical powers. The tower is enchanted with spells and ghostly guards to deter foolish individuals intend on stealing the Elephant Eyes. Conan is undeterred and seek his fortune at the wizards expense.
The Scarlet Citadel (1933)
Palace intrigue finds Conan usurped from his throne and captive of a very malevolent sorcerer. Armies are on the move - pontoon bridges are employed - fortified cities are under siege - Conan find an unlikely ally in a fellow prisoner who employees mystical means to restore the cosmic balance.
Queen of the Black Coast (1934)
Conan falls in with a vivacious Pirate Queen with a unquenchable lust for plunder - especially jewels. An abandoned city in ruins surrounded by jungle along a turgid river leads to the Queen's undoing. Conan barely survives after battling a gigantic flying ape!
Black Colossus (1933)
A oracle tells a Queen regent to employ the first man she meets to save the kingdom from an the impend peril of invasion let by the devil himself. Conan, a man with no common sense, instead of jumping out the nearest window says "yes, I'll save the kingdom".
Iron Shadows of the Moon (1934)
Mysterious ruins with menacing statues that come to life in moonlight gives Conan ample opportunity to hack and bash his way to freedom.
Xuthal of the Dark (1933)
Escaping into a barren desert region with a clinging wench is almost Conan undoing until an oasis is spotted. Said oasis is a horror house of drugged pleasure seekers and the demon that feeds off them. Conan is fortunate to break out of the prison-like town with his life.
Pool of the Black One (1933)
Fished out of the ocean after escaping a misunderstanding ashore Conan falls in with a band of freebooters. A uncharted island, a scheming damsel and an evil entity keep Conan busy in this entertaining tale.
Rogues in the House (1934)
As a price for being sprung from prison Conan must dispatch a conniving priest and his half-man half-ape. Complications set it and much blood is spilt.
Vale of Lost Woman (first publication 1967)
A high principled princess is captured by a band of lusty natives. Seeing Conan as her only hope for rescue - and the preserving of her virtue - the princess promises him her "desirable quality" if he can liberate her. Conan obliges but said princess eludes Conan's embrace only to fall in with some "Lost Women" which necessitates a second rescue by Conan..
Devil in Iron (1934)
Another swampy island with a ruined temple leads Conan to an encounter with a supernatural daemon. A magical knife, an encounter with a 40 foot snake(!) and a reluctant half naked damsel in distress cannot deter Conan!
There is something gratifying to possess a book that reflects a publishers and editors respect and admiration for the author and the subject matter; " The Coming of Conan The Cimmerian " is such a book. This Del Ray trade paperback is an original edition published in 2002. The 464-page book includes in addition to the stories outlined above, approximately 100 pages of Conan reference material. These includes Howard's drafts for several of the stories, maps, notes etc. This is a definitive reference for the Howard student and for just curious readers. Quality paper and a very readable font make this a worthy book for fans and collectors.
Each story is illustrated with several quarter page drawings and a near full-page illustration by Mark Schultz. Mr. Schultz provided an article about how he approached drawing Conan.
The majority of the stories were first published in Wierd Tales magazine during 1925-37. The executors of his estate published another group of stories well after Howard's death.
Howard's character Conan is deceptively simple: likes to drink, wench and fight. He is dubious of the gods, uneasy when in the presence of supernatural evil and for the most part a loner. He is also very, very lucky. Howard is a master story teller with a outstanding talent for narrative pacing and descriptive prose. For the most part the stories are entertaining and colorfully written.
The question of genuine significance for potential readers or just the curious is: are the stories worth reading - or are they just historical literary curiosities. answer of course is subjective but if your inclined to these type stories you would do well not to pass up on this collection.
i bought that crow at shopper's for $15. it had one wing missing and a broken eye but it eas the only one left. i only needed it for the shoot. i'm bringing it back tomorrow because i'm cheap and what in the jesus am i supposed to do with a fake, broken crow!?
New giveaway! Like, share and comment this post with your sl name and 3 of you can win mega fatpack of this beautiful Dress!
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Many thanks for your visits, faves and comments. Cheers.
....from a walk through Oxley Creek Common - the wrens are like flies at the moment - there's a lot. Oxley Creek Common is home to a remarkable variety of birds. An experienced observer can find as many as 70 species in one hour of observation during the spring about 10% of all Australia's bird species and several times the diversity one could find walking the suburbs. In the past eleven years over 190 species have been recorded on the Common. (Source: University of Queensland)
Satin Flycatcher (Not sure if it is a Satin or Leaden Flycatcher? Took a punt on Satin after consulting three field guides)
Scientific Name: Myiagra cyanoleuca
Description: The Satin Flycatcher is a small blue-black and white bird with a small crest. The sexes are dimorphic (have two forms). Males are glossy blue-black above, with a blue-black chest and white below, while females are duskier blue-black above, with a orange-red chin, throat and breast, and white underparts and pale-edged wing and tail feathers. Young birds are dark brown-grey above, with pale streaks and buff edges to the wing feathers, and a mottled brown-orange throat and chest. It has sometimes been called the Shining Flycatcher, but this is the common name of another species, M. alecto. It is an active, mobile species
Similar species: The Leaden Flycatcher, M. rubecula, is very similar, with males less glossy about the head and throat and the females and juveniles generally lighter blue-grey above. Both sexes of the Broad-billed Flycatcher, M. ruficollis, are also similar, but lighter in colouring, and have a broader, boat-shaped bill; also, this species only overlaps in range with the Satin Flycatcher in far northern Queensland.
Distribution: The Satin Flycatcher is found along the east coast of Australia from far northern Queensland to Tasmania, including south-eastern South Australia. It is also found in New Guinea. The Satin Flycatcher is not a commonly seen species, especially in the far south of its range, where it is a summer breeding migrant.
Habitat: The Satin Flycatcher is found in tall forests, preferring wetter habitats such as heavily forested gullies, but not rainforests.
Seasonal movements: The Satin Flycatcher is a migratory species, moving northwards in winter to northern Queensland and Papua New Guinea, returning south to breed in spring.
Feeding: The Satin Flycatcher takes insects on the wing, foraging actively from perches in the mid to upper canopy. After the breeding season, it may forage in loose groups, usually of adults and their newly-fledged young, in drier, more open forests.
Breeding: The Satin Flycatcher nests in loose colonies of two to five pairs nesting at intervals of about 20 m - 50 m apart. It builds a broad-based, cup-shaped nest of shredded bark and grass, coated with spider webs and decorated with lichen. The nest is placed on a bare, horizontal branch, with overhanging foliage, about 3 m - 25 m above the ground. Both sexes build the nest, incubate the eggs and feed the young. Nests may be parasitised by the Brush Cuckoo and, sometimes, the Pallid Cuckoo, Horsfield's Bronze-Cuckoo or the Golden Bronze-Cuckoo.
Calls: Sharp, metallic, rising whistle: 'chwee-wip, chwee-wip, chwee-wip'; also harsh grating buzzes, repeated often.
Minimum Size: 15cm
Maximum Size: 18cm
Average size: 16cm
Breeding season: September to March
Clutch Size: Usually three
Incubation: 17 days
Nestling Period: 18 days
(Sources: www.birdsinbackyards.net; The Slater Field Guide to Australian Birds, 2nd Edition; Field Guide to the Birds of Australia, Simpson & Day, 8th Edition; The Field Guide to the Birds of Australia, 9th Edition, Pizzey & Knight)
© Chris Burns 2015
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Ripples came across the bay at dusk. I suspect these ripples are from a boat that came through the nearby Cape Cod Canal
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(ou comment faire un créneau) avec votre prof... little c
why this is in "new day": Each morning is a struggle for me, not being a morning person the trek across town to drop c off at school in packed public transportation when all she wants to do is kick back and watch cartoons is a task. And then, two and a half-hours later its an about-face to run her back across town during my lunch hour. My theory this morning was that we could not only have fun together, but that I would recoup the time wasted in transit during her nap for work. So, I thought, hell, it's a new day, let's try something different.
Well, the truth is, those two and a half hours are actually quite productive normally, and while today was a lot more fun, I'm right to normally put my nose to the grindstone ( for those who might become convinced I am a slug, I'll add that it's only on Fridays that I don't head back into work after the lunch hour, and well, on this particular lazy Thursday when I went out taking photos of petrol pumps, and well...)
On the quai we met an American woman whose daughter took to Clara very quickly and vice versa!
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Hull Pride weekend.
We went out onto Newland Avenue on the Friday night as Gemma wanted to try out The People's Republic and The Newland Tap. She hadn't been there before.
We weren't out too late as we had to be up early the next day, but we bumped into the delightful Ciaran at The People's Republic, then into Heidi (who I had met before) and a Steve and Adam at The Newland Tap.
A lovely chilled evening.
Terwilliger Hot Spring is great. Rather than fight its popularity, the forest service helps to maintain the spring. A day use fee helps pay for cleaning and upkeep.
As I ride my bike, I am in solitude, much of the way, so I enjoy the socialization of hot springs if I find them.
There are many good looking naked men there; I notice that being a gay man myself. Most of the people are not gay, but people tend to be mellow and fairly open minded at places like this. There are both men and women at the spring. Even if one were totally blind, and couldn't see all the attractive people, the conversations, around the pools, are far more interesting than what one would likely hear in a bar.
One of the attractive people, I met, was a young city council person from back east. He was out west visiting friends. Too bad he was just leaving as I got there, but it's all in the role of the dice. There were many other interesting people and topics tumbling around in the fresh air.
It seems easy to join in to any of several conversations taking place around the pools. Find out where people have been traveling, who is planning to move to Oregon, what someone thinks of their career plans, why someone decided to quit their high profile computer job.
I even met someone from Bellingham there; someone I haven't seen since even though he lives near me. Interesting how one can meet at a hot spring, but not in normal life.
From my letters in Bellingham Herald, late 1990s
Call it Nudeworking instead of Networking
The Whatcom County Council was foolish when it voted to ban nude sunbathing at Teddy Bear Cove near Bellingham. In this fast-paced society; nude beaches could be replacing the corner store as the place where people stop and visit.
When I was on a bicycle trip around Washington and Oregon; last summer; I found that nude hot springs and saunas were among the best spots to visit with local people. At times they seemed like the only places where conversation was longer than the quick "thank you" after something is sold at a cash register.
Near Eugene; Ore. I visited a wonderful place called Terwilliger Hot Spring. It is jointly maintained by the U.S. Forest service and a volunteer citizen group called "Friends of the Hot Spring."
At times it seemed like the only place I got to see people outside their automobiles. Friendly visits at the spring gave me a better feel for the people of that area than I would have received if all I had seen of the people was their cars zipping past me on the road all day.
Instead of networking; this experience could be called "nudeworking."
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Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
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
Ruelle strictement piétonne, quartier historique et sauvegardé !!!! C'est le grand saccage de notre maire, Delphine Labails... une inconsciente... et sans aucun doute, une irrémédiable incompétente...
Strictly pedestrian alley, historical and preserved district!!! This is the great destruction by our mayor, Delphine Labails... a reckless person... and without a doubt, an irredeemable
incompetent...
Madame Delphine Labails, maire de Périgueux, ou une vision des années soixante dix... Un échantillon parmi 8000 photos d'infractions prises par des riverains en quelques mois dans deux-trois ruelles exclusivement piétonnes, historiques à cinquante mètres d'une cathédrale classée au patrimoine de l'UNESCO) du grand saccage orchestré par cette dame à Périgueux. 8000 infractions d'automobiles, zéro verbalisation... un authentique record national... pour des ruelles piétonnes, à mettre au crédit de notre maire actuelle madame Delphine Labails... Cherchez donc l'erreur ! Merci madame Labails... Deux années que nous prévenons cette dame de son grand saccage... en vain ! Les riverains, les passants, les enfants, les touristes... Elle ? Dans dans sa grande léthargie... elle s'en contrefiche... alors oui une vision... des années soixante dix... Si nous sommes effrayés par une telle incompétence ? Oui. De grâce... sauvez nous de cette dame issue d'une autre époque...
le.grand.saccage@gmail.com
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merd*
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More in comments with views to Sydney city.
Had the opportunity to Fly over Parramatta on our way from Cessnock to Tumut via the light aircraft lane the other day!! whoo hoo!!
amazed at how familiar places can look so different when unused to seeing them from a different perspective.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Black lace. Agadoo anyone? Goodness me, no thanks! How terrible were Black Lace? LOL!
An African spoonbill feeds in a watering hole in Ngorongoro Crater, northern Tanzania. c.2019 John M. Hudson | jmhudson1.com
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Saturday night in Leeds was immense!
We had a night f improv comedy (same as last month) followed by another trip to Pryzm and dancing on their light-up dance floor - what a brilliant night!
Loads of photos from Pryzm.
Sarah-Ann, Gemma, Ali and me.
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.
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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.
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(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.