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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.
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links about Biennalist :
Thierry Geoffroy/Colonel:
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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
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
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A few snaps from our last morning in Lincoln before heading back home.
Mi esposa e hija en la playa. vacaciones Chile
Meine Frau und Tochter am Strand in Chile
My wife and daughter at the beach in Chile.
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Turkey Point Nuclear Generating, Units 3 and 4. The nuclear power plants are located near Homestead, FL (20 MI S of Miami, FL) in NRC Region II. For information, go to www.nrc.gov/reactors/power.html. Photo courtesy of ©FPL.
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I had my dear friend Bella visiting for the weekend, and it was a fantastic weekend!
Sunday we went into the old town. I wanted to take Bella to Nibble to try the amazing food so we did that, and then we went for a wander around High Street in the old town.
High Street had been converted into a 19th century Whitechapel street for a forthconing Netflix drama called Bodies. And on the Sunday there was no filing going on so people were allowed to walk around the set.
It was fascintating! And the attention to detail was incredible - it must have all cost a fortune!
All in all, a brilliant weekend with a wonderful friend.
Around the set of Bodies.
Brand: Hot Wheels
Series: 2021 Nightburnerz - 5 pack 3/5
Livery: Brown stripes on the top, Peach twigs and Flowers on sides
Scale: 1/64
Base: Black plastic - ©2012 Mattel
Collector/casting number: X8236
Country of manufacture: Indonesia
Place/date of purchase: Wal-Mart 2022
Condition: Minty fresh 10/10
Remarks/comments:
Comments from the IMDB.com message boards.
Go to the photoset for more like this one: www.flickr.com/photos/angusmcdiarmid/sets/72057594087388006/
Also, there's the Cameo website. Best screen in the country!
A beautiful historic Scottish Fishing bay dating back to the 1700's, under duress due to problems between the "Owner" and local fishermen who have utilised this historic harbour as they and their fore fathers have done for hundreds of years .
I revisited today Tuesday 27th August 2019 , I was disappointed to see concrete barriers blocking access to cars and fishing boats , sad circumstances indeed , though I still managed to capture as much of the bays charm a I could , its ongoing battle and new concrete blocks preventing access made me feel unhappy and sad, any ways I have pasted some of my previous comments and news items reference this pathetic situation below for your perusal, I am on the side of the fishermen , its a sad tale indeed.
Check my previous posts in my Cove Bay folder for photos of the harbour in its glory days that I have taken over the years before this nonsense raised its ugly head.
Previous Posts
I love this bay, its a beautiful tranquil place, however after reading news reports on a court judgement 13/7/2018 forcing the fisher men to remove their boats within 28 days it saddened me, hence I made a trip today Friday 13th July 2018 to capture the views and scenery before this unpopular ruling is implemented, what a sad situation indeed, I have included the news report on the legal wrangle at the end of this description.
Cove is a 20 minute drive from my home in Aberdeen Scotland, it was a pleasure to visit today and capture the tranquility that it presented.
Scattered across the harbour are stones with various sealife characters carved into them.
Cove Bay is a suburb on the south-east edge of Aberdeen, Scotland.
Today Cove is home to over 7000 people. It is a popular residential location owing to its extremely village-like status.
It is a quiet suburb just at the edge of the City and in 2015 won the Silver award for Scotland in bloom. Nearby Altens and Tullos Industrial Estates, affording ample employment opportunities.
History
Cove Bay is situated to the east of the ancient Causey Mounth, which road was built on high ground to make passable this only available medieval route from coastal points south from Stonehaven to Aberdeen.
This ancient trackway specifically connected the River Dee crossing (where the Bridge of Dee is located) via Portlethen Moss, Muchalls Castle and Stonehaven to the south.
The route was that taken by William Keith, 7th Earl Marischal and the Marquess of Montrose, who led a Covenanter army of 9000 men in the battle of the Civil War in 1639.
Cove Bay was a village in the extreme north-east corner of Kincardine, governed from Stonehaven, until 1975, when it was added to the City of Aberdeen. Though simply referred to as Cove, in the 19th and early 20th centuries it was known as The Cove, becoming Cove Bay around 1912.
Industry
Cove has been noted for industries such as granite, which was quarried in several locations to the south of the village. Owing to its close-grained texture, Cove granite was one of the hardest in north-east Scotland and proved highly resistant to frost, making it ideal for causeway stones used in the construction of roads. It was widely exported to cities in England, including Billingsgate Market in London.
Fishing
The village itself sprung up around the fishing industry, with the boats berthed on a shingle beach, a gap in the rocks that afforded a natural harbour. During this time, it is estimated that approximately 300 people lived in the area. In the mid 19th century the fishing was at its height, which, over years, has included cod, haddock, salmon, herring and shellfish. The piers and breakwater were constructed in 1878. At the end of World War I the fishing began to decline. At present only a couple of boats pursue shellfish on a part-time basis.
Between 1894 and 1937, Cove also housed a fishmeal factory, the Aberdeen Fish Meal Factory, which was located at the edge of the cliffs. It produced quality manure which was exported to both Europe and America. It became locally known as "the stinker" because of the processing odour, which was highlighted by the Aberdeen entertainer Harry Gordon in a parody entitled A Song of Cove.
Amenities
Retail
Cove has just had a brand new Co-operative built just off of Earnshugh Circle.
To the west of Loirston Road is the Cove Shopping Centre, which overlooks Loirston Primary School. This houses a pharmacist, the Wee China Chinese takeaway/Chip shop, Ruby Tuesdays beauty salon and the Harr Rock cafe (Cove's second).
Within the new development of cove a local Sainsbury's has opened. There is also the Harr Rock Cafe (the first one), a hairdressers and a gift shop within the new development.
There are also 2 RS McColl newsagents. One located at Bervie Brow in Altens, and a second located on the corner of Loirston Road and Cove Road which also houses a Post Office.
Hospitality
The Cove Bay hotel is located on Colsea Road. There is also The Aberdeen Altens Hotel in Altens, which has 216 bedrooms, making it the largest of the three Thistle Hotels in Aberdeen.
There is also a pub, the Langdykes which now has an Indian restaurant situated inside called The Curry lounge which you can sit in or take away.
Transport
Bus services to and from Cove and the wider area of Aberdeen are available. These are run by First Aberdeen with the numbers 3 (to Mastrick) and the 18 to Dyce, via Kincorth. Stagecoach also cover cove partially, with numbers 7A & 8 (Both to the City Centre).
Healthcare
Cove Bay has its own medical centre, the Cove Bay Medical Centre. It was originally located on Catto Walk, but moved to a new facility off Earns Hugh Road. Cove Dental Care has since moved into the old surgery building.
Sport
Cove is currently home to two football teams: Cove Rangers, who currently play in the Highland Football League, they temporarily play in Harlow Park, Inverurie, as their old home Allan park was demolished to make way for housing. Cove Thistle, who hold amateur status. Sunday amateur team Cove Revolution folded in 2010.
There are also many youth teams in the area that are run by Cove Youth FC. The Cove Youth FC area SFA credited community club, organizing players from 6 years old up to 19 years old. They also have a girls section. The Cove Community Football Trust is run by Cove Rangers FC, Cove Thistle FC and Cove Youth FC.
Other Amenities
A state-of-the-art library was recently built between Loirston Primary School and the Cove Shopping Centre. There are blueprints for a local sports centre to also be built in the near future.
Education
Cove has two primary schools, Charleston Primary School and Loirston Primary School. Most secondary pupils attend the nearby Kincorth Academy, but some choose to go to Portlethen Academy.
Future Developments
Aberdeen Gateway[edit]
Construction on a new Aberdeen Gateway industrial development began in 2008. It will see new offices and industrial units built to the south of the village. Current tenants at the site include National Oilwell Varco (NOV), Driving Standards Agency and Hydrasun. A Community football pitch is also inlcluded within the development.
Cove Academy
Plans for a secondary school in Cove have now been approved and will be situated alongside Wellington Road. It is thought that once this is built pupils from Cove, Torry as well as Kincorth will attend this school.
The Legal Wrangle - Landowner V Fishermen - Judgement 13/7/18
Fishermen told to move boats from Cove Bay after legal dispute
Fishermen have been told to move their boats from an Aberdeen bay after a long-running dispute.
Several fishermen were fighting an eviction order on behalf of landowner Pralhad Kolhe at Cove Bay, where they had been fishing for many years.
In a written judgement, a sheriff has given them 28 days to move their boats and equipment from Mr Kolhe's land.
However, Sheriff Andrew Miller also ordered the removal of obstructions to vehicular access onto the pier.
The case was heard at Aberdeen Sheriff Court earlier this year.
One of the fisherman, Jim Adam, told a court he was "stunned" to receive a legal letter telling him to remove his boat.
He had been fishing from Cove Bay since 1966.
'We were hopeful'
The first day of the hearing heard the letter said the landowner, who lives in a house overlooking the harbour, was unable to make use of his land for amenity purposes and that he did not wish Mr Adam's vessel, or any other vessel, on his land.
In the ruling, Sheriff Miller also gave Mr Kolhe 28 days to remove the obstructions to vehicle access to the pier.
Mr Adam told BBC Scotland: "We are disappointed, we were hopeful.
"The good news is at least for the recreational folks they have got vehicle access."
News Report From P&J Aberdeen
A campaign group could use new powers to try to buy the land at the centre of a long-running dispute over access to Cove Harbour.
Councillors in Aberdeen agreed yesterday to investigate using the purchase powers contained in the Community Empowerment Scotland Act 2015 to finally resolve the stand-off.
The proposal was backed after Jim Adam, chairman of the Cove Fishermen Association, delivered an emotional plea to Aberdeen City Council’s petitions committee yesterday.
He outlined the group’s ongoing disagreement with the landowner, Pralhad Kohle, over vehicle access to the harbour-side.
Mr Adam highlighted the historical use of the harbour since the 1700s for fishing boats and recreational users, showing members photographs as evidence.
He also said the denial of emergency access to the harbour would create safety issues, and spoke of a strong community spirit in the village.
Cove Councillor Neil Cooney stated: “Boats have been fishing out of Cove since mediaeval times; we need to retain that heritage.”
Committee convener Alan Donnelly said: “You would think, with 11,000 signatures, that the owner would take it seriously and come along.”
He added: “We are moving today that the council refers the petition to the landowner, with the hope that they can come to an amicable solution.
“And request a report to the communities, housing and infrastructure committee to investigate the viability of the community to use the new Community Empowerment Scotland Act 2015 to purchase the land.”
Speaking afterwards Mr Adam said: “We are very encouraged by the support from the council. It’s very positive and has opened up a number of avenues, but we would like there to be an amicable solution.
“The Community Empowerment Act is a very useful tool, but it would be a last resort.”
Mr Kohle, who was not in attendance, owns a house overlooking the bay and some of the land at the harbour below.
Scotland’s First Minister has pledged to investigate the “suffering” faced by the Cove Harbour fishing community as a result of a devastating fire and a dispute with the landlord.
The first minister promised action after being warned the Scottish Government risked ignoring a group whose livelihoods had been threatened by recent events.
Ms Sturgeon said the government wanted “to do everything we possibly can” to help communities faced with difficulties after the Cove Harbour situation was raised with her.
In January, thousands of pounds worth of damage was caused when a fire, thought to be deliberate, destroyed five vessels, boating equipment, a shed and fishing gear.
The community has also been involved in a long-running battle with landowner Pralhad Kolhe, a plastic surgeon who had sought to evict the fishermen’s fleet of traditional vessels from the part of the harbour he owns.
The Cove Fisherman’s Association had a four-year legal battle with Mr Kolhe, and lost their fight to dock their small fleet of traditional vessels at a particular part of Cove Harbour last year.
Last August the remaining vessels at the site were finally moved from Mr Kolhe’s land to a small corner of the harbour. The judgement said access to the pier for walkers and vehicles should be maintained.
After January’s fire, North East MSP Liam Kerr wrote to Rural Economy Secretary Fergus Ewing asking for support for the fishermen.
Mr Ewing replied say he was “very saddened” by the disaster but financial support would be “limited”.
Yesterday Mr Kerr raised Cove Harbour with Ms Sturgeon in the Scottish Parliament.
Mr Kerr told the first minister the Cove Harbour fishing community was “suffering” and faced “significant” legal costs.
The Tory MSP said the fishermen had requested a meeting with Mr Ewing “but to no avail”.
And he asked Ms Sturgeon to persuade Mr Ewing to meet the community and “not risk ignoring a community facing the loss of their livelihoods”.
The First Minister said: “Of course we want to do everything we possibly can to help any community experiencing difficulties.
“I am not aware beyond what the member has just said of the content of the correspondence to Fergus Ewing.
“But I am happy to give an undertaking to look into that and if Fergus Ewing thinks there is help the Scottish Government can offer – certainly to meet with those affected.”
A group of Aberdeen fishermen who lost a court case last year have been hit with a legal fee bill of around £45,000 – just days after their cherished vessels were destroyed in a malicious fire.
The Cove Fishermen’s Association was forced to move its boats at Cove Harbour last year after a court ruled in favour of landowner Pralhad Kolhe – who owns sections of the historic bay.
Mr Kolhe has been seeking to remove the small fleet of boats from his land, but in the months since the court’s decision, the fishermen have continued their activities by keeping their remaining vessels in a much smaller pocket of the harbour not under the landowner’s control, further away from the shoreline
Hong Kong street series.
Thank you for your visit. This is a no-need-to-comment site.
Please also view my other pictures at www.flickr.com/photos/tantheolddoc/
+1 versione nei commenti.
"Accettami per quella che sono, un pò stupida ,un pò ancora bambina, con quella voglia di vivere e scherzare, non cambiarmi, accetta i miei pregi e difetti, perchè io, ti sto amando con tutta me stessa."
- Cit.
L'estate scorsa sono stata insieme alla mia famiglia e ad alcuni amici di famiglia a fare una mini-vacanza. Avevo dimenticato le foto, eccole x'3 Qui eravamo nei giardini sul retro del Castello di Donnafugata ♥
P.S. Quella nei commenti è un'altra versione in cui ho lavorato un po' di più con PS D: è tutto un po' più.. rosa, secondo voi qual è migliore? c: ♥
| © Non utilizzare la foto senza il mio consenso.|
|Si accettano critiche, non insulti. Si migliora sempre, soprattutto dai proprio errori.|
the best thing about the Sister's show were the Marijuana 4/10 folks who incorrectly wandered into the Sister's space...they were like "OMG, This is like , OZ, man." Yes, it was. Probably because it was the Sister's 35th Anniversary and it was an homage to the Wizard of Oz. The lawn in front of the stage was filled with red-paper poppies. There were several 'Cowardly Lions", many "Glenda the Good Witch", a couple of 'Bad Witches" including one on a bike...a very young 6-year old Judy Garland passing out Giradelli Chocolate, an awesome Scarecrow of indeterminate sex, a few Tin Men (and one obviously Tin Woman), and even a couple of 'munchkins'...yes, real little people. Though, I'm happy to report that there were no Flying Monkeys.
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www.sfgate.com/entertainment/garchik/article/Dancing-in-t... ............................................................................................SISTER's of PERPETUAL INDULGENCE's 35th Annual HUNKY JESUS & FOXY MARY fun....The best thing about the Sister's show were the Marijuana 4/20 folks who incorrectly wandered into the Sister's party space...They were like "OMG, This is like , OZ, man."
Yes, it was.
Probably because it was the Sister's 35th Anniversary and it was an homage to the Wizard of Oz. The lawn in front of the stage was filled with red-paper poppies. There were several 'Cowardly Lions", many "Glenda the Good Witch", a couple of 'Bad Witches" including one on a bike...a very young 6-year old Judy Garland passing out Giradelli Chocolate, an awesome Scarecrow of indeterminate sex, a few Tin Men (and one obviously Tin Woman), and even a couple of 'munchkins'...yes, real little people. Though, ADDA DADA is happy to report that there were no Flying Monkeys.
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Canon EOS 6D - f/14 - 10sec - 100 mm - ISO 200
I did build a scale model of the 'Red and Blue chair' from Gerrit Rietveld (see picture in the first comment).
The assembly instructions in the kit were very clear and easy. But what would have been the result if this kit was sold with one of the infamous IKEA instructions ... ? ;)
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The Red and Blue Chair is a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions.
The original chair was constructed of unstained beech wood and was not painted until the early 1920s. Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and suggested that he add bright colours. He built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement. The effect of this color scheme made the chair seem to almost disappear against the black walls and floor of the Schröder house where it was later placed.
The areas of color appeared to float, giving it an almost transparent structure.
In the Red Blue Chair, Rietveld manipulated rectilinear volumes and examined the interaction of vertical and horizontal planes, much as he did in his architecture. Although the chair was originally designed in 1918, its color scheme of primary colors (red, yellow, blue) plus black—so closely associated with the de Stijl group and its most famous theorist and practitioner Piet Mondrian—was applied to it around 1923. Hoping that much of his furniture would eventually be mass-produced rather than handcrafted, Rietveld aimed for simplicity in construction. The pieces of wood that comprise the Red Blue Chair are in the standard lumber sizes readily available at the time.
Rietveld believed there was a greater goal for the furniture designer than just physical comfort: the well-being and comfort of the spirit. Rietveld and his colleagues in the de Stijl art and architecture movement sought to create a utopia based on a harmonic human-made order, which they believed could renew Europe after the devastating turmoil of World War I. New forms, in their view, were essential to this rebuilding.
The Museum of Modern Art (MoMA), which houses the chair in its permanent collection, a gift from Philip Johnson, states that the red, blue,and yellow colors were added around 1923. The chair also resides at the High Museum of Art, Atlanta.
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De Rood-blauwe stoel, ook Rietveldstoel genoemd, werd omstreeks 1918-1923 ontworpen door meubelmaker en architect Gerrit Rietveld. Vandaag de dag geldt de stoel, naast het Rietveld Schröderhuis, de asymmetrische composities van Mondriaan uit de jaren 20 en Café De Unie, als een schoolvoorbeeld van kunstbeweging De Stijl.
Rietveld reduceerde in dit ontwerp de traditionele armstoel tot 13 beukenhouten latten met een vierkant profiel, twee beukenhouten latten met een rechthoekig profiel en twee rechthoekige, triplex panelen. Voor de latten kan, op aanwijzing van Rietveld zelf, echter ook een andere niet-splijtbare houtsoort gebruikt worden. De latten worden, volgens een ongedateerde werktekening van zijn hand, met 16 ronde, beuken pennen op elk raakvlak aan elkaar bevestigd, en ‘de rug en zitting worden op de latten gespijkerd’.
Hierdoor was de stoel eenvoudig met behulp van bijvoorbeeld een zaagmachine te produceren. Rietveld hoopte dat machinale productie enerzijds het werk van de arbeider zou verlichten en anderzijds kwalitatief goede producten (zoals zijn stoel) bereikbaar zouden maken voor een groter publiek.
Over de datering van het eerste prototype van de stoel bestaat onder kunsthistorici onenigheid. Sommigen plaatsen hem in 1917, anderen volgen de aanwijzing van oud-Rietveld-medewerker Gerard van de Groenekan, die er stellig van overtuigd was dat hij in de zomer van 1918 is ontstaan. Uit onderzoek van de kunsthistorica en Rietveld-specialist Marijke Kuper kunnen we echter afleiden dat de stoel voor het eerst in 1919 is gemaakt.
Het prototype is nog niet uitgevoerd in de kenmerkende kleuren rood en blauw, maar is onbeschilderd en van een donkere kleur hout. Bovendien heeft het onder de armsteunen triplex zijpanelen.
Later maakte Rietveld een andere versie, zonder deze zijpanelen, om de stoel zowel visueel als fysiek lichter te maken. Zodoende had Rietveld de constructie van armstoel tot een minimum ‘gedeconstrueerd’ en waren alle onderdelen waaruit hij bestaat zichtbaar gemaakt. Ook deze stoel is onbeschilderd en donker. Hij is 87 cm hoog, 60 cm breed en 60 cm diep.
Het eerste (onbeschilderde) exemplaar van 1921 werd besteld door P.J. Schelling. In 1922 bestelde Dr. A.M. Hartog een exemplaar voor zijn, ook door Rietveld ontworpen, behandelkamer in Maarssen. Het exemplaar dat de Haagse avant-garde dichteres Til Brugman in 1923 bestelde voor haar, door Vilmos Huszár geschilderde muziekkamer, is geheel wit gebeitst. Dit exemplaar werd in mei 2007 bij Christie's in Amsterdam geveild voor € 264 000. Daarnaast zijn er nog bekend: een roze stoel, een zeegroene stoel (besteld door Charley Toorop) en een zwarte stoel met witte kopse kanten (besteld door Paul Citroen).
De kleuren rood, blauw, geel en zwart werden omstreeks 1923, kort voordat Rietveld het Rietveld-Schröderhuis ontwierp, onder invloed van werk van Piet Mondriaan, Vilmos Huszár en Theo van Doesburg, aan de stoel toegevoegd. In een ongedateerde werktekening van Rietveld, waarschijnlijk uit de jaren '30, die bewaard wordt in het Centraal Museum in Utrecht, geeft hij de definitieve afmetingen en kleuren van de stoel.
Op een door Rietveld zelf geschetste prijslijst uit omstreeks 1923 staan twee schematische tekeningen van de stoel in rood, blauw en zwart. Volgens deze lijst bestond er een 'goedkoope uitvoering' van 15 gulden en een 'fyner uitvoering' van 22 gulden 50. De goedkopere uitvoering werd geproduceerd door de firma C. van 't Hullenaar in Utrecht; de duurdere door Rietveld en zijn assistent Gerard van de Groenekan zelf en was te koop bij kunsthandel Gerbrands, eveneens in Utrecht. Deze handgemaakte exemplaren verschillen door de jaren aanzienlijk van afmeting.
Ondanks de strakke vorm zit de stoel zelfs zonder kussens comfortabel. Toch waren veel mensen van mening dat de stoel niet lekker zou zitten. Daarop antwoordde Rietveld: ‘Zitten is een werkwoord.’
Rietveld over zijn Rood-blauwe stoel: 'Het kwam nooit bij me op dat dit object zo belangrijk zou worden dat het zelfs de architectuur zou beïnvloeden.'
In 1971 verkochten de erfgenamen Rietveld de rechten van de stoel aan de Italiaanse firma Cassina, die in 1972 de productie van de stoel hernam. Door de machinale productie hebben de stoelen afkomstig uit deze firma allen dezelfde afmetingen.
De stoel is nu hét icoon van De Stijl, hoewel Rietveld hem ontwierp toen hij nog geen lid van deze kunstbeweging was.
PLEASE, no multi invitations in your comments. DO NOT FEEL YOU HAVE TO COMMENT.Thanks.
The back wall of the theatre stage has disappeared almost completely. On the stage some marble theatrical masks can now be seen, that once decorated the building.
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I went to see the one man show Buffy Revamped with my dear friend Simon. It was brilliant!
Buffy The Vampire Slayer remains one my my all-time favourite shows, and this was a hilarious take one it. I highly recommend going to see it if it's touring near you and you loved the TV show.
Model: Lara Schpunkt
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My wife and examples of what i did with photoshop... I added a tattoo and lipstick and give her rainbow eyes., leave a comment if u like
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Jubilee weekend we went for a day out in York, which is only a 45 minute drive from where I live.
At the Yorkshire Museum.
ethereal
adj
1. extremely delicate or refined; exquisite
2. almost as light as air; impalpable; airy
3. celestial or spiritual
4. (Chemistry) of, containing, or dissolved in an ether, esp diethyl ether an ethereal solution
5. of or relating to the ether
I think this fits in there somewhere or maybe not... The atlernate is in comments.
HSS and HMAM!
The computer problem isn't completely resolved but at least it's running and I can get a full backup before I take it in...
5:52
...and shake it all about....
I thought I'd post a bit of whimsy today!
When I was younger and we used to dance this, we always called it the Hokey Coky. I see by the original music it is called the Hokey Pokey. I live and learn.
I think the cherub points a dainty toe as well.
Thank you so much for visiting, your comments and awards, xx
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
Subscribe for fun family videos: bit.ly/TheFunnyrats Yesterday's Vlog: ift.tt/19VdZAN Like, Comment and Subscribe to show your Shiggity Shankness! In today's fun family daily vlog, I got all of the ingredients to make the Durian Fruit Smoothie that I told you I wanted to make when I tasted the Durian the other day. I forgot to thaw our the durian, so I had to take a knife to it to get the durian seed out of the durian flesh. For this durian fruit smoothie, you need durian, half of a banana, coconut milk, cinnamon, vanilla, and a dash of salt. For this durian fruit smoothie recipe, you add all of the ingredients together and blend. Once the durian fruit smoothie was ready, I was nervous about tasting it because of how the durian smells. Some of you mentioned that my durian may have been too ripe. I'm not sure if I like the durian fruit smoothie, but it wasn't bad enough for me to not finish the smoothie. I went to pick up the kids and I when I walked in, I saw the kids doing yoga poses. My daughter was trying to balance on one foot, but my daughter kept falling over. My wife came home, and the family was back together again. My wife got a haircut, and I think it looks great. My wife's haircut really looks good. What do you think about my wife's haircut? It's a nice hairstyle for her! Before the family went for a family walk, we planted some vegetable plants in our pot garden that our family bought yesterday. Our family also worked together to plant a blueberry bush that our family picked up yesterday. We show you how to plant a blueberry bush. This is my first time planting a blueberry bush, and our family did a good job! While our family went for our family walk, a cat came up to us and wanted to be petted. Our family had fun playing with the cat until the kids saw a fire hydrant! Thank you for watching our family vlog! We really appreciate it. We would love it if you thumbed up this video! Members Only Facebook Group: ift.tt/1a7aOFY Mystery Video: ift.tt/1FZe2r7 Year 1: ift.tt/1fkskCo Year 2: ift.tt/OVq1iJ Year 3: ift.tt/1fksidK Year 4: ift.tt/OVq3Hk Year 5: ift.tt/1jayppD New Videos are uploaded to TheFunnyrats everyday at 3:00pm CST. Subscribe so that never miss one! GET TO KNOW US: - Birth of Our Kids: ift.tt/1seGFw9 - Proposal, Wedding, and Anniversaries: ift.tt/1zvRFmW - A Few of my Favorite Videos: ift.tt/1Jx3lQn TheFunnyrats is a family of four based out of Lafayette, LA, who make brand new videos on YouTube every day at 3:00pm CST. We love to take our two kids, Amelia and Jacques, on adventures as a family. My wife, Krista, and I have a goal to sell everything we own (including our house), buy an Airstream Travel Trailer, and explore this beautiful Earth living full-time in the RV! We guarantee that you will love our videos. Subscribe now to join our journey and discover the the world with us! It's easy and free, just click that red button! Also we love when you follow and interact with us on our social media links above. Our Favorite Products: Shot on a Canon G7X: amzn.to/1MckI59 Join The Shiggity Shank List for extra content, contests, announcements, coupon codes and more: ift.tt/1e5oNtJ You guys are AWESOMELY SHIGGITY SHANK! SOCIAL LINKS --------------------- SnapChat: TheFunnyrats Instagram: ift.tt/1fxosSB Facebook: ift.tt/108WAJg Twitter (Lane): ift.tt/10aL8jw Twitter (Lane): ift.tt/108WDon Twitter (Krista): ift.tt/10aL8jz Pinterest: ift.tt/1fxosSz Google Plus: ift.tt/1fgUqQQ LANEVIDS SHIRTS: ift.tt/10aL6YX WEBSITE: www.LaneVids.com