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Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X (sometimes referred to as VF-X1) was strictly a conventional/non-transformable jet aircraft, even though it incorporated many structural components and several key technologies that were vital for the transformable VF-1’s successful development that ran in parallel. Therefore, the VF-X was never intended as an air superiority fighter, but rather a flight-capable analogue test bed and proof of concept for the VF-1’s basic layout and major components. In this role, however, the VF-X made vital contributions to systems’ development that were later incorporated into the VF-1’s serial production and sped the program up considerably.
VF-X production started in early 2006, with four airframes built. The flight tests began in February 2007. The first prototype (“01”) was piloted and evaluated by ace pilot Roy Fokker, in order to explore the aircraft’s flight envelope, general handling and for external stores carriage tests. The three other VF-Xs successively joined the test program, each with a different focus. “02” was primarily tasked with the flight control and pilot interface program, “03” was allocated to the engine, vectoring thrust and steering systems development, and “04” was primarily involved in structural and fatigue tests.
In November 2007, the successful VF-X tests and the flights of the VF-X-1 (the first fully transformable VF-1 prototype, which had been under construction in parallel to the VF-X program) led to formal adoption of the “Valkyrie” variable fighter by the United Nations Government.
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict.
Introduced in 2008, the VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha, even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements. These included the GBP-1S "Armored Valkyrie” external armor and infantry weapons pack, so-called FAST Packs for "Super Valkyries” for orbital use, and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S “Strike Valkyrie” with additional firepower.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68), and several upgrade programs were introduced.
The fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction.
General characteristics:
Accommodation: One pilot in a Marty & Beck Mk-7 zero/zero ejection seat
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4 x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
Performance:
Top speed: Mach 2.71 at 10,000 m; Mach 3.87 at 30,000+ m
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Armament:
None installed, but the VF-X had 4x underwing hard points for a wide variety of ordnance, plus a ventral hardpoint for a Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min or other stores like test instruments
The model and its assembly:
Another submission to the “Prototypes” group build at whatifmodelers.com in July 2020. Being a VF-1 fan (and have built maybe twenty o these simple Arii kits), adding a VF-X was, more or less, a must – even more so because I had a suitable Valkyrie Fighter kit at hand for the conversion. As a side note, I have actually built something quite similar from a VF-1D many years ago: a fictional, non-transformable advanced trainer, without knowing about the VF-X at all.
Thanks to the “Macross - Perfect Memory” source book, the differences between the transformable VF-1 and its early testbed were easy to identify:
- Fixed legs with faired ducts from the intakes on (thighs)
- Ankle recesses disappeared
- Less and slightly different panel lines on the back and on the nose
- ventral head unit deleted and a respective fairing installed instead
- Levelled underside (shoulder fairings of the folded arms were cut down)
- Leg attachment points on the nose deleted
- No small, circular vernier thrusters all around the hull
- Some new/different venting grills (created mostly with 0.5mm black decal stripes)
Beyond the changes, the VF-1A was basically built OOB. Thankfully, the VF-X already features the later VF-1’s vectored thrust nozzles/feet, so that no changes had to be made in this respect. A pilot figure was added to the cockpit for the beauty pics, and after the flight scenes had been shot, the canopy remained open on a swing arm for static display. For the same reason, the model was built with the landing gear extended.
As a test aircraft, the underwing pylons and their AMM-1 ordnance were left away and the attachment points hidden with putty. I also omitted the ventral gun pod and left the aircraft clean. However, for the flight scene pictures, I implanted an adapter for a display holder made from wire.
In order to emphasize the test vehicle character of the VF-X, I gave the model a scratched spin recovery parachute installation between the fins, using a real world F-22 testbed as benchmark. It consists of styrene profiles, quite a delicate construction. For the same reason I gave the VF-X a long sensor boom on the nose, which changes the Valkyrie’s look, too. Finally, some small blade antennae were added to the nose and to the spine behind the cockpit.
Painting and markings:
To be honest, I have no idea if there was only a single VF-X prototype in the Macross universe, or more. Just one appears in the TV series in episode #33, and lack of suitable information and my personal lack of Japanese language proficiency prevents any deeper research. However, this would not keep me from inventing a personal interpretation of the canonical VF-X, especially because I do not really like the original livery from the TV series: an overall light grey with some simple black trim and “TEST” written on the (fixed) legs. Yamato did an 1:60 scale toy of the VF-X, but it was/is just a VF-1 with a ventral fairing; they added some shading to the basic grey – but this does not make the aircraft more attractive, IMHO.
When I looked at the original conceptual drawing of the VF-X in the “Macross - Perfect Memory” source book, however, I was immediately reminded of the F-15 prototypes from the Seventies (and this program used a total of twelve machines!). These featured originally a light grey (FS 36375?) overall base, to which bright dayglo orange markings on wings, fins and fuselage were soon added – in a very similar pattern to the VF-X. I think the VF-X livery was actually inspired by this, the time frame matches well with the production of the Macross TV series, too, and that’s what I adapted for my model.
In order to come close to the F-15 prototype livery, I gave “my” VF-X an overall basic coat of RAL 7047 “Telegrau 4”, one of German Telekom’s corporate colors and a very pale grey that can easily be mistaken for white when you do not have a contrast reference.
The cockpit received a medium grey finish, the ejection seat became black with brown cushions; the pilot figure is a 1:100 seated passenger from an architecture supplies, painted like an early VF-1 pilot in a white/blue suit. The jet nozzles/feet were painted with Revell 91 (Iron) and later treated with grinded graphite for a more metallic finish. The landing gear became classic white (I used Revell 301, which is a very pure tone, as contrast to the RAL 7047 on the hull), the air intake ducts and the internal sections of the VG wings were painted with dark grey (Revell 77).
For some diversity I took inspiration from the Yamato VF-X toy and added slightly darker (Humbrol 166, RAF Light Aircraft Grey) areas to the hull and the legs. Next, the panel lines were emphasized through a thinned black ink wash, but I did no panel post shading so that the VF-X would not look too dirty or worn.
Onto this basis I applied the orange dayglo markings. On the wings and fins, these were painted – they were applied with spray paint from a rattle can, involving lots of masking. The leading edges on wings and fins were created with grey decal sheet material, too. At this stage, some surface details and more fake panel lines were added with a soft pencil.
The orange cheatline under the cockpit is a personal addition; I found that some more orange had to be added to the nose for visual balance, and I eventually went for the simple, trimmed stripe (TL Modellbau material) instead of trying to apply decal sheet material around the jagged air intakes (F-15 prototype style). The black “TEST”, “VFX” and “U.N. Spacy” markings were designed at the computer and printed on clear inkjet decal paper. Even though the “real” VF-X does not feature the UNS “kite” insignia, I decided to add them to the model. These come from the OOB sheet, which also provided most (slightly yellowed) stencils.
Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
A rather different VF-1 project (and it is – to my astonishment – #28 in my 1:100 VF-1 Fighter mode collection!!!), with more changes to the basic model kit than one might expect at first sight. VF-X and VF-1 differ considerably from each other, despite identical outlines! However, I like the outcome, and I think that going a different route from the canonical grey/black livery paid out, the bright orange markings really make this VF-X stand out, and it looks IMHO more like a testbed than the “real” aircraft from the TV series.
Originally developed as a bomber for Britain's Royal Flying Corps and Royal Air Force the DH9 proved something of a failure due to design issues. This particular model however enjoys some fame as the first single engined aircraft to fly the England to Australia route in 1920. The aircraft stands in the ANZAC Hall of the Australian War Memorial in Canberra, national capital of Australia.
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
05/05/2023. London, United Kingdom. Sophie, Duchess of Edinburgh, Prince Edward, Duke of Edinburgh and The Foreign Secretary James Cleverly at the Small Island Developing States Coronation Event. Treasury. Picture by Kirsty O'Connor/Treasury
Taken with: Canon FTb SLR (FD), Pentax 17mm f/4 “Fish-Eye-Takumar” (w/ custom FD mount)
Gossen Luna Pro-F
Taken on: Kodak Tri-X 400
Developed in: Kodak HC-110 Dilution-B (6:00 min)
Scanned with: Epson V600 Scanner (PhotoshopCC&LightroomCC)
Day 2: The morning dawned with neither hangover nor jetlag and we spent most of the day on a bus to Brussels. The highlight of the day was a lunchtime walkabout in Antwerp. Antwerp is home to the crown jewel of railway architecture, Antwerpen-Centraal Station.
“The original station building was constructed between 1895 and 1905 as a replacement for the original terminus of the Brussels-Mechelen-Antwerp Railway. The station is now widely regarded as the finest example of railway architecture in Belgium, although the extraordinary eclecticism of the influences on Delacenserie's design had led to a difficulty in assigning it to a particular architectural style. In 2009 the American magazine Newsweek judged Antwerpen-Centraal the world's fourth greatest train station. In 2014 the British-American magazine Mashable awarded Antwerpen-Centraal the first place for the most beautiful railway station in the world.” - Wikipedia
5½ inch 80# cardstock circles, a good, stiff medium for this model.
Perfect model for CraftROBOing or die-stamping.
When the USAF was developing its specifications for the F-111, Australia also needed a new strike aircraft. Indonesia, which represented a major potential threat in the early 1960s, had Soviet Bombers that could strike Australia, but Australia’s existing Canberra bombers did not have the range to strike back. The F-111 would allow Australia them to take out aggressor air forces on the ground and then turn to other targets. The Royal Australian Air Force ordered 24 F-111Cs off the drawing board. These were based on the F-111A but were redesigned for the needs of the Royal Australian Air Force. One change was to give the Australian Aardvarks an anti-shipping role by allowing them to strike with AGM-84 Harpoon missiles. In addition, the C's had the heavier landing gear and wider wings created for the F-111B and FB-111A.
After prolonged development, General Dynamics finished the F-111Cs for Australia in 1968. However, the Royal Australian Air Force would not accept them until concerns about aircraft longevity had been worked out. The most important concern was the strength of the wing carry through box, which failed in a test. Finally, the wing carry through boxes were replaced at great cost. In 1973, Australia accepted its two dozen F-111C, which its crewmembers nicknamed the Pig. These aircraft were upgraded several times. In 1979, the RAAF modified four to carry reconnaissance pods.
Although two dozen aircraft would serve the needs of two full squadrons, this did not provide any spares. Inevitable attrition led to the purchase of four refurbished F-111As from the U.S. Air Force. These were upgraded these to the general F-111C specification. When the United States retired its FB-111As, it converted some to F-111Gs, as noted earlier. The RAAF was able to purchase fifteen F-111 Gs in 1983. This gave adequate replacement aircraft for several years. In the 1990s, the RAAF purchased ten Pave Tack target detection, tracking and designation pods.
Fortunately, Australian pigs never saw combat. However, in the East Timor crisis of 1999, Australia stationed its F-111 fleet in striking distance of East Timor. The Indonesians knew that the F-111s could devastate their ground forces if they took unacceptable action. This and the other threats posed by the Australian naval fleet kept the Indonesians in check.
In time, however, the high maintenance burden of Australia’s F-111 fleet led to the retiring of the fleet. The F-111Gs were retired in 2007, the F-111Cs in 2010. After 37 years of service, the RAAF held a moving farewell ceremony for its beloved Pigs.
In place of the long-range fighter/bomber, the RAAF has purchased 24 F/A-18F Super Hornets. It plans to upgrade to F-35s as these become available. Neither has the phenomenal range and loitering time of the Triple One, but both are modern superlative airplanes.
After decommissioning its F-111s, the RAAF needed to dispose of its aircraft in ways permitted by the SALT treaty. Eight had crashed while in service, and 23 were buried in in landfills. Six were retained at RAAF bases, and the others were made available to civilian museums where all but one was delivered by truck. The final Triple One, F-111C A8-130 (seen in the photograph above), was delivered to Pearl Harbor Aviation Museum in September 2013.
This last aircraft, A8-130, is one of the original two dozen F-111Cs purchased by Australia. This bird, with construction number D1-6, began its service on June 1, 1973. It left service on December 3, 2010. During its long career, many pilots flew this aircraft, including the Chief of the RAAF, Air Marshall Geoff Brown OA & Deputy Chief of the RAAF, Air Marshall Gavin “Leo” Davies. Getting the aircraft to Hawaii presented a real challenge. So, the aircraft was divided into components and shipped to Hawaii by the RAAF in a C-130. Early in its career, the aircraft flew in camouflage. Prior to the being divided into components, the RAAF restored the aircraft to its camouflage paint job as seen above to commemorate its early history.
www.pearlharboraviationmuseum.org/blog/general-dynamics-f...
Technical Information (or Nerdy Stuff):
Camera - Nikon D7200 (handheld)
Lens – Nikkor 18-300mm Zoom
ISO – 1250
Aperture – f/6.3
Exposure – 1/640 second
Focal Length – 30mm
The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
Some background:
]The VF-4 Lightning III began development in 2005 under the initial designation of the VF-X-4. Developed as a successor craft to the VF-1 Valkyrie, the VF-4 Lightning III was designed as a variable fighter that emphasized mobility in outer space.
The VF-4's development began with the prototype VF-X-4 and the VF-X-3. However, when Earth was devastated in Space War I the loss of military facilities also resulted in loss of the VF-X-3. Amongst the airframes under development exist prototype No. 1 craft, VF-X-4V1 and the trial manufactured VF-4A-0 and thus the surviving VF-X-4 was developed and completed as the VF-4 Lightning III. A trial-produced variable fighter, designated the VF-4A-0, was also built using 25% VF-1 Valkyrie parts.
VF-X-4 underwent flight tests, including being test piloted by Space War I veteran Hikaru Ichijo. Once successful operational models were ready, the VF-4 began mass production on February 2012. Initial deployment began on the SDF-2 Megaroad-01 in VF-1 Skull and SVF-184 Iron Chiefs Squadrons on September 2012. When the SDF-2 Megaroad launched in the same month, Hikaru Ichijō flew a VF-4 alongside the new colonization vessel as the ship lifted from Earth and began exploration outside of the Sol system.
As a result of integrating existing Overtechnology and Zentradi-series technology, the VF-4 had a characteristic three-hulled-type airframe structure remarkably different from the conservative VF-1 Valkyrie design. The three-hulled style of the VF-4 increased fuselage volume, propellant capacity and armament load capability that all resulted in a 40% improved combat ability over the VF-1. Fully transformable, the VF-4 could shift into Battroid and Gerwalk modes like previous variable fighters.
However, the VF-4 did suffer minor mobility problems within an atmosphere and the new type was primarily deployed to the Space Air Corps of emigrant fleets to serve as the main fighter craft of the UN Forces in the 2020s. It was because flight performance within the atmosphere was not as good as the VF-1 that the VF-5000 Star Mirage became the main combat craft within atmosphere, while the VF-4 operated mainly in outer space.
Built as a space fighter, the VF-4 primary weapons became two large beam cannons, though the craft was capable of carrying a GU-11 gun pod in Gerwalk and Battroid modes. In addition to the powerful primary beam guns, the Lightning III also featured twelve semi-recessed long-range missiles, as well as underwing pylons for additional missiles and other stores.
The VF-4 was only slightly heavier than the VF-1, but featured considerably more powerful engines, making the craft ideal for operations deeper out in space. The Lightning III was also much faster in the atmosphere than the older VF-1, although the VF-4’s flight mobility performance was not as great.
The VF-4 was also notable as the first production variable fighter to utilize a HOTAS system (Hands On Throttle And Stick) for the cockpit HMI (Human-Machine Interface). Furthermore, the VF-4's cockpit was laid out as a single hexagonal MFD (Multi-Function Display) that proved so successful that it was retrofitted into "Block 6" VF-1 fighters, as well as providing the template for all future variable fighter cockpits.
By the end of 2015, mass production of the VF-1 series at last had come to an end. From 2020 onward, the VF-4 Lightning III officially replaced the VF-1 to become the main variable fighter of U.N. Forces. Production of the VF-4 continued for a decade and ceased in 2022, with a total of 8,245 Lightning III variable fighters produced.
The VF-4 variable fighter remained in active service into the late 2040's but was complemented or substituted in many branches of the UN Forces by the cheaper and more atmospherically maneuverable VF-5000 Star Mirage. The VF-4 Lightning III was eventually replaced as the main variable fighter of U.N. Spacy in the later half of the 2030s by the VF-11 Thunderbolt.
General characteristics:
Manufacturer: Stonewell/Bellcom
Equipment Type: Variable fighter
Government: U.N. Spacy, U.N. Space Marines
Introduction: 2012
Operational Deployment: September 2012
Dimensions:
Accommodation: pilot only
Fighter Mode: wingspan 12.65 meters; height 5.31 meters; length 16.8 meters
Mass: empty 13.95 metric tons
Structure: space metal frame, SWAG energy conversion armor
Powerplant:
2x Shinnakasu/P&W/Roice FF-2011 thermonuclear turbine engines,
rated at 14,000 kg (137.34 kN) each
2x dorsal rocket engines (mounted on top of the main thermonuclear turbine engines)
2x ramjet engines (embedded into the inner wing sections)
P&W HMM-1A high-maneuverability vernier thrusters
Performance:
Fighter Mode: Mach 3.02 at 10,000 m
Mach 5.15 at 30,000+ m
Thrust-to-weight ratio: (empty) 2.01 (rating for turbine engine thrust ONLY)
g limit: unknown
[Armament:
2 x large beam cannons in forward engine nacelles
12x semi-recessed long range missiles (mounted on engine nacelles and ventral fuselage)
8x underwing pylons for missiles, gun pods an/or drop tanks
The kit and its assembly:
Well, this build has been lingering for almost 25 years in the back of my mind. It just took so long that a suitable IP kit (with a reasonable price tag) would materialize!
The original inspiration struck me with a VF-4 profile in the source book "This is animation special: Macross PLUS" from 1994, which accidently fell into my hands in a local Japanese book store. Among others, a side and top view profile of an aggressor VF-4 in an all-brown, Soviet-style paint scheme was featured. At that time I found the idea and the scheme pretty cool, so much that I even built a modified 1:100 VF-1 as a ground attack aircraft in this paint scheme.
However, the original VF-4 profile from the source book had always been present, but for years there had been no affordable kit. There have been garage/resin kits, but prices would start at EUR 250,-, and these things were and are extraordinarily rare.
Things changed for the better when WAVE announced an 1:72 VF-4 kit in late 2016, and it eventually materialized in late 2017. I immediately pre-ordered one from Japan (in a smart move, this even saved money) and it eventually turned up here in Germany in early 2018. Patience pays out, it seems...
I had preferred a 1:100 kit, though, due to space issues and since almost any other Macross variable fighter model in my collection is in this small scale, but I am happy that a decent VF-4 kit at all appeared after so many years!
Concerning the WAVE kit, there’s light and shadow. First of all, you have to know that you get a VF-4A. This is mentioned nowhere on the box, but might be a vital information for hardcore modelers. The early VF-4A is a rather different aircraft than the later VF-4G, with so fundamental differences that it would warrant a completely new kit! On the other side, with a look at the kit’s parts, I could imagine that a VF-4B two-seater could be easily realized in the future, too.
The kit is a solid construction, a snap-fit kit molded in different colors so that it can be built without painting. This sounds toy-like, but - like many small scale Bandai Valkyrie kits - anything you ask for is actually there. When you use glue and put some effort into the kit and some donor parts, you can make a very good model from it.
The kit's box is pretty oversized, though (any sprue is shrink-wrapped, horrendous garbage pile and wasted space!), and the kit offers just a single decal (water-slide decals, not stickers) option for a Skull Squadron VF-4A – AFAIK it’s Hikaru Ichijoe’s machine that appears in one of the Macross Flash Back 2012 music videos, as it escorts the SDF-02 “Megaroad” colonial ship after launch from Earth towards the center of our Galaxy.
The parts are crisply molded, and I actually like the fact that the kit is not as uber-engineered as the Hasegawa Valkyries. You can actually call the WAVE kit simple - but in a positive sense, because the parts number is reduced to a minimum, material strength is solid and the kit's construction is straightforward. Fit is excellent – I just used some putty along the engine gondolas due to their complex shape, but almost anything else would either fit almost perfectly or just call for some sanding. Impressive!
Surface details etc. are rather basic, but very crisp and emphasized enough that anything remains visible after adding some paint. However, after all, this aircraft is just a fictional animation mecha, and from this perspective the kit is really O.K..
After building the kit I most say that it's nothing that leaves you in awe, and for a retail price of currently roundabout EUR 50-70,- (I was lucky to get it for an early bird deal at EUR 40,-, but still pricey for what I got) the kit is pretty expensive and has some weaknesses:
The model comes with a decent (= simple) cockpit and a very nice and large pilot figure, but with no ordnance except for the semi-recessed long-range missiles (see below). The cockpit lacks any side consoles, floor or side wall details. If you put the pilot into the cockpit as intended, this is not a big issue, since the figure blocks any sight into the cockpit’s lower regions. However, the side sticks are molded into the pilot’s hands, so that you have to scratch a lot if you want to present the cockpit open and with an empty seat.
The landing gear is simple, too, and the wells are very shallow (even though they feature interior details). As a special feature, you can switch with some extra parts between an extended or retracted landing gear, and there are extra parts that allow the air intakes and some vectoring nozzles to be closed/extended for orbital operations. However, detail fetishists might replace the OOB parts with the landing gear from an 1:72 F-18 for an overall better look.
Provisions for underwing hardpoints are actually molded into the lower fuselage part (and could be punched/drilled open - another indication that more VF-4 boxings with extra sprues might follow?), but the kit does not come with any pylons or other ordnance than the dozen fuselage-mounted AAMs. Furthermore, the semi-recessed missiles are just that: you only get the visible halves of the only provided ordnance, which are simply stuck into slits on the model’s surface. As a consequence, you have to mount them at any rate – building a VF-4 for a diorama in which the missiles are about to be loaded would require massive scratch-building efforts and modifications.
Another problem indirectly arises when you put some effort into the kit and want to clean and pre-paint the missiles before assembly: every missile is different and has its allocated place on the VF-4 hull. The missiles are numbered – but only on the sprue! Once you cut them out, you either have to keep them painstakingly in order, or you will spend a long evening figuring out where which missile belongs! This could be easily avoided if the part number would be engraved on the missiles’ back sides – and that’s what I actually did (with a water-proof pen, though) in order to avoid trouble.
The clear canopy is another issue. The two parts are crystal-clear, but, being a snap-fit kit, the canopy parts have to be clipped into the fuselage (rear part) and onto a separate canopy frame (front part). In order to fit, the clear parts have cramps molded into their bases – and due to the excellent transparency and a magnifier effect, you can see them easily from the outside – and on the inside, when you leave the cockpit open. It’s not a pretty solution, despite the perfect fit of the parts.
One option I can think of is to carefully sand the cramps and the attachment points away, but I deem this a hazardous stunt. I eventually hid the cramps behind a thin line of paint, which simulates a yellow-ish canopy seal. The extra windscreen framing is not accurate, but the simplest solution that hides this weak point.
The kit itself was built OOB, because it goes together so well. I also refrained from adding pylons and ordnance – even though you can easily hang anything from Hasegawa’s VF-1 weapon set under the VF-4’s wings and fuselage. A final, small addition was a scratched, ventral adapter for a 3.5 mm steel rod, as a display for the flight scene beauty pic.
Painting and markings:
As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.
For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.
As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.
Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.
In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.
Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.
The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.
I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.
This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.
The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).
Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…
As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).
Well, in the end, it’s not a carbon copy of the inspiring illustration, but rather another machine from the same squadron, with more creative freedom. I stayed as true to the benchmark as possible, though, and I like the result. Finally, after almost 25 years, I can tick this project off of my long ideas and inspiration list.
Considering the kit itself, I am really torn. I am happy that there finally is a VF-4 IP kit at all after so many years, but to me it’s a contradictive offer. I am not certain about the target group, because for a toy-like snap-fit kit it’s too detailed and expensive, but for the serious modeler it has some major flaws.
The biggest issue is the kit’s horrendous price – even if it would be more detailed or contained some fine resin or PE parts (which I would not want, just a “good” plastic kit). Sure, you can put some effort into the kit and improve it, e .g. in the cockpit or with a donor landing gear, but weak points like the “flat” missiles and the lack of proper bays for them are IMHO poor. For the relatively huge price tag I’d hoped for a “better” OOB offer. However, the kit is easy to build and a good representation of the Lightning III, and I am curious if there are kit variants in WAVE’s pipeline?
We have some Irish friends, who think Cape Cod is just about all right, particularly Provincetown. We are much of their opinion. But they never go there without being entirely grossed out by all the salt water taffy. Taffy, pronounced with an aggressively flat æ digraph, is a soft, sticky candy that is always sold wrapped up in a twist of wax paper, to protect it, presumably, from the moist sea air. I haven't been anywhere, on either coast, where it isn't made and sold as a necessary part of the shore experience. I don't think the tourists would ever go home, if it wasn't for this stuff, ripping out their fillings.
I sometimes think that our Irish friends take exception to the pronunciation of the word, perhaps thinking it's a Yankee mangling of the insular English word, toffee. Indeed, we have toffee, too, but it's a different animal, entirely. Maybe they resent the use of a word that is a tribal slur in England for the Welsh. Hard to say. They might not have a taste for it. I mean, they actually eat and enjoy Turkish delight, which is just nasty.
Oh, yes, this box suggests a piece of salt water taffy to me. I'm highly impressionable and maybe a little impressionistic.
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on authentic facts. BEWARE!
Some background:
In Autumn 1946, the Saab company began internal studies aimed at developing a replacement aircraft for the Saab B 18/S 18 as Sweden's standard attack aircraft. In 1948, Saab was formally approached by the Swedish Government with a request to investigate the development of a turbojet-powered strike aircraft to replace a series of 1940s vintage attack, reconnaissance, and night-fighter aircraft then in the Flygvapnet’s inventory. On 20 December 1948, a phase one contract for the design and mock-up of the proposed aircraft was issued. The requirements laid out by the Swedish Air Force were demanding: the aircraft had to be able to attack anywhere along Sweden's 2,000 km (1,245 miles) of coastline within one hour of launch from a central location, and it had to be capable of being launched in any weather conditions, at day or night.
In response, Saab elected to develop a twin-seat aircraft with a low-mounted swept wing and equipped with advanced electronics. On 3 November 1952, the first prototype, under the handle “Fpl 32” (flygplan = aircraft) conducted its first flight. A small batch of prototypes completed design and evaluation trials with series production of the newly designated Saab 32 Lansen beginning in 1953. The first production A 32A Lansen attack aircraft were delivered to the Swedish Air Force and proceeded through to mid-1958, at which point manufacturing activity switched to the Lansen’s other two major scheduled variants, the J 32B all-weather fighter and the photo reconnaissance S 32C, optimized for maritime operations.
The idea behind the J 32 originated from the late 1940s: Even before the SAAB 29 Tunnan had taken to the air, discussions began between SAAB and the Swedish Aviation Administration regarding a future night fighter aircraft with a jet engine. Since the end of the war, the Swedish Air Force had wanted a night fighter aircraft but was forced to put these on the shelf due to cost reasons. In the end, they managed to obtain sixty de Haviland Mosquito night fighter aircraft (then designated J 30) from Great Britain as a low-budget solution, but the J 30 was far from modern at the end of the 1940s and talks with SAAB regarding a domestic alternative continued.
At the beginning of the 1950s, the Fpl 32 project was in full swing and the aircraft was selected as the basis for an indigenous all-weather jet night fighter with a sighting radar and various heavier weapons to be able to shoot down bombers – at the time of the J 32B’s design, the main bomber threat was expected to enter Swedish airspace at subsonic speed and at high altitude. The original idea was that this aircraft would replace the J 30 Mosquito from 1955 onwards, but this proved to be impossible as the J 30 fleet needed to be replaced long before this and the A 32A as initial/main varia of the Fpl 32 had priority. Because of this operational gap, in January 1951 the Swedish Air Force ordered the British de Haviland Venom (then designated J 33) as an interim all-weather fighter and plans for the J 32B were postponed until later with the idea that the Lansen’s fighter variant would replace the J 33 at the end of the 1950s and benefit from technological progress until then.
On 7 January 1957, the first J 32B conducted its maiden flight, and it was a considerable step forward from the A 32A attack aircraft – in fact, excepts for the hull, it had only little in common with the attack variant! The new fighter version was powered by a Rolls-Royce Avon Mk 47A (locally designated RM6A) which gave as much thrust without an afterburner as the SAAB A 32A's original RM5A2 did with an afterburner, greatly improving the aircraft’s rate of climb and acceleration, even though the J 32B remained only transonic.
The armament consisted of four heavier fixed 30 mm ADEN m/55 automatic cannon in a slightly re-contoured nose, plus Rb 24/AIM-9B Sidewinder IR-guided AAMs and various unguided rockets against air and ground targets. Instead of the A 32A’s Ericsson mapping and navigation radar, which was compatible with the indigenous Rb 04C anti-ship missile, one of the earliest cruise missiles in western service, the J 32B carried a PS-42/A. This was a search/tracking X-band radar with a gyro-stabilized antenna with a swivel range of 60° to each side and +60°/−30° up/down. The radar featured the option of a 3D display for both WSO and pilot and its data could be directly displayed in the pilot’s Sikte 6A HUD, a very modern solution at the time.
A total of 118 aircraft (S/N 32501-32620) were produced between 1958 and 1960, serving in four fighter units. However, the J 32B only served for just under 12 years as a fighter aircraft in the Swedish Air Force: aviation technology progressed very quickly during the 1960s and already in 1966, the J 32B began to be replaced by the J 35F, which itself was already an advanced all-weather interceptor version of the supersonic Draken. In 1969 only the Jämtland's Air Flotilla (F4) still had the J 32B left in service and the type began to be completely retired from frontline service. In 1970 the plane flew in service for the last time and in 1973 the J 32B was officially phased out of the air force, and scrapping began in 1974.
However, the J 32Bs’ career was not over yet: At the beginning of the 1970s, Målflygdivisionen (MFD for short, the “Target Air Division”) was still using old J 29Fs as target tugs and for other training purposes, and they needed to be replaced. The choice fell on the much more capable, robust and readily available J 32B. Twenty-four machines were transferred to the MFD in 1971 to be used for training purposes, losing their radar and cannon armament. Six of these six J 32Bs were in 1972 modified into dedicated target tugs under the designation J 32D, six more J 32Bs were left unmodified and allocated to various second-line tasks such as radio testing and ground training.
The other twelve J 32Bs (s/n 32507, -510, -512, -515, -529, -541, -543, -569, -571, -592, -607 and -612) became jamming aircraft through the implementation of ECR equipment under the designation J 32E. This electronics package included internally:
- An INGEBORG signal reconnaissance receiver with antennae in the radome,
covering S, C and L radar frequency bands
- A G24 jamming transmitter, also with its antenna in the radome, covering alternatively
S, C and L frequency bands. This device co-operated with the external ADRIAN jamming pod
- Apparatus 91B; a broadband jammer, later integrated with INGEBORG
- MORE, a jammer and search station for the VHF and UHF bands
- FB-6 tape player/recorder; used, among other things, to send false messages/interference
Additional, external equipment included:
- PETRUS: jamming pod, X-band, also radar warning, intended for jamming aircraft
and active missile radars
- ADRIAN: jamming pod, active on S- and C-band, intended for jamming land-based and
shipboard radars
- BOZ-1, -3, -9 and -100 chaff dispenser pods
Outwardly, the J 32E differed from its brethren only through some blade antennae around the hull, and they initially retained the fighters’ blue-green paint scheme and their tactical markings so that they were hard to distinguish from the original fighters. Over time, orange day-glow markings were added to improve visibility during training sessions. However, during the mid-Nineties, three machines received during scheduled overhauls a new all-grey low-visibility camouflage with toned-down markings, and they received the “16M” unit identifier – the only MFD aircraft to carry these openly.
When a J 32E crashed in 1975, three of the remaining six training J 32Bs were modified into J 32Es in 1979 to fill the ranks. The MFD kept operating the small J 32Ds and Es fleet well into the Nineties and the special unit survived two flotilla and four defense engagements. At that time, the Målflygdivisionen was part of the Swedish Air Force’s Upplands Flygflottilj (F16), but it was based at Malmen air base near Linköpping (where the Swedish Air Force’s Försökscentralen was located, too) as a detachment unit and therefore the machines received the unit identifier “F16M”, even though the “M” suffix did normally not appear on the aircraft. However, through a defense ministry decision in 1996 the Target Air Division and its associated companies as well as the aircraft workshop at Malmen were to be decommissioned, what meant the end of the whole unit. On June 26, 1997, a ceremony was held over the disbandment of the division, where, among other things, twelve J 32Es made a formation flight over Östergötland.
After the decommissioning of the division, however, the Lansens were still not ‘dead’ yet: the J 32D target tugs were kept operational by a private operator and received civil registrations, and eight flightworthy J 32Es were passed over to FMV:Prov (Provningsavdelningen vid Försvarets materielverk, the material testing department of the Swedish Air Force’s Försökscentralen) to serve on, while other airframes without any more future potential were handed over to museums as exhibition pieces, or eventually scrapped. The surviving J 32Es served on in the electronic aggressor/trainer role until 1999 when they were finally replaced by ten modified Sk 37E Viggen two-seaters, after their development and conversion had taken longer than expected.
However, this was still not the end of the Saab 32, which turned out to be even more long-lived: By 2010, at least two Lansens were still operational, having the sole task of taking high altitude air samples for research purposes in collaboration with the Swedish Radiation Safety Authority, and by 2012 a total of three Lansens reportedly remained in active service in Sweden.
General characteristics:
Crew: 2
Length: 14.94 m (49 ft 0 in)
Wingspan: 13 m (42 ft 8 in)
Height: 4.65 m (15 ft 3 in)
Wing area: 37.4 m² (403 sq ft)
Airfoil: NACA 64A010
Empty weight: 7,500 kg (16,535 lb)
Max takeoff weight: 13,500 kg (29,762 lb)
Powerplant:
1× Svenska Flygmotor RM6A afterburning turbojet
(a Rolls Royce Avon Mk.47A outfitted with an indigenous afterburner),
delivering 4,88 kp dry and 6,500 kp with reheat
Performance:
Maximum speed: 1,200 km/h (750 mph, 650 kn)
Range: 2,000 km (1,200 mi, 1,100 nmi) with internal fuel only
Service ceiling: 15,000 m (49,000 ft)
Rate of climb: 100 m/s (20,000 ft/min)
Armament:
No internal weapons.
13× external hardpoints (five major pylons and eight more for light weapons)
for a wide variety of up to 3.000 kg of ordnance, typically only used
for ECM and chaff/flare dispenser pods and/or a conformal ventral auxiliary tank
The kit and its assembly:
This is a what-if project that I had on my idea list for a long time, but never got the nerve to do it because it is just a mild modification – the model depicts a real aircraft type, just with a fictional livery for it (see below).
The plan to create a J 32E from Heller’s A 32 kit from 1982 predated any OOB option, though. Tarangus has been offering a dedicated J 32B/E kit since 2016, but I stuck to my original plan to convert a Heller fighter bomber which I had in The Stash™, anyway)- also because I find the Tarangus kit prohibitively expensive (for what you get), even though it might have saved some work.
The Heller A 32A kit was basically built OOB, even though changing it into a J 32B (and even further into an “E”) called for some major modifications. These could have been scratched, but out of convenience I invested into a dedicated Maestro Models conversion set that offers resin replacements for a modified gun bay (which has more pronounced “cheek fairings” than the attack aircraft, the lower section is similar to the S 32C camera nose), a new jet exhaust and also the Lansen’s unique conformal belly tank – for the cost of a NIB Heller Saab 32 kit alone, though… :-/
Implanting the Maestro Models parts was straightforward and relatively easy. The J 32B gun bay replaces the OOB parts from the Heller kit, fits well and does not require more PSR than the original part. Since the model depicts a gun-less J 32E, I faired the gun ports over.
The RM6A exhaust was a bit more challenging – it is a bit longer and wider than the A 32A’s RM5. It’s not much, maybe 1mm in each dimension, so that the tail opening had to be widened and slightly re-contoured to accept the new one-piece resin pipe. The belly tank matched the kit’s ventral contours well. As an extra, the Maestro Models set also offers the J 32B’s different tail skid, which is placed further back on the fighter than on the attack and recce aircraft.
The J 32E’s characteristic collection of sizable blade antennae all around the hull was scratched from 0.5 mm styrene sheet. Furthermore, the flaps were lowered, an emergency fuel outlet was added under the tail, the canopy (very clear, but quite thick!) cut into two parts for optional open display, and the air intake walls were extended inside of the fuselage with styrene sheet.
Under the wings, four pylons (the Heller kit unfortunately comes totally devoid of any ordnance or even hardpoints!) from the spares box were added that carry scratched BOZ-1 chaff dispensers and a pair of ADRIAN/PETRUS ECM pod dummies – all made from drop tanks, incidentally from Swedish aircraft (Mistercraft Saab 35 and Matchbox Saab 29). Sure, there are short-run aftermarket sets for this special equipment that might come closer to the real thing(s), but I do not think that the (quite considerable) investments in all these exotic aftermarket items are worthwhile when most of them are pretty easy to scratch.
Painting and markings:
The paint scheme was the actual reason to build a J 32E: the fundamental plan was to build a Lansen in the Swedish air superiority low-viz two-tone paint scheme from the Nineties, and the IMHO only sensible option beyond pure fantasy was the real J 32E as “canvas”. I used JAS 39 Gripens as reference: their upper tone is called Pansargrå 5431-17M (“Tank Grey”, which is, according to trustworthy sources, very close to FS 36173, U.S. Neutral Grey), while the undersides are painted in Duvagrå 5431-14M (“Dove Grey”; approximately FS 36373, a tone called “High Low Visibility Light Grey”). Surprisingly, other Swedish types in low-viz livery used different shades; the JA 37s and late J 35Js were painted in tones called mörkgrå 033M and grå 032M, even though AJSF 37s and AFAIK a single SK 37 were painted with the Gripen colors, too.
After checking a lot of Gripen pictures I selected different tones, though, because the greys appear much lighter in real life, esp. on the lower surfaces. I ended up with FS 36231 (Dark Gull Grey, Humbrol 140, a bit lighter than the Neutral Grey) and RLM 63 (Lichtgrau, Testors 2077, a very pale and cold tone). The aircraft received a low waterline with a blurry edge, and the light grey was raised at the nose up to the radome, as seen on JA 37s and JAS 39s. To make the low-viz Lansen look a little less uniform I painted the lower rear section of the fuselage in Revell 91 and 99, simulating bare metal – a measure that had been done with many Lansens because leaking fuel and oil from the engine bay would wash off any paint in this area, leaving a rather tatty look. Di-electric fairings like the nose radome and the fin tip were painted with a brownish light grey (Revell 75) instead of black, reducing contrast and simulating bare and worn fiber glass. Small details like the white tips of the small wing fences and the underwing pylons were adapted from real-world Lansens.
After a light black ink wash, I emphasized single panels with Humbrol 125 and 165 on the upper surfaces and 147 and 196 underneath. Additionally, grinded graphite was used for weathering and a grimy look – an effective method, thanks to the kit’s fine raised panel lines. The silver wing leading edges were created with decal sheet material and not painted, a clean and convenient solution that avoids masking mess.
The ECM and chaff dispenser pods were painted in a slightly different shade of grey (FS 36440, Humbrol 40). As a subtle contrast the conformal belly tank was painted with Humbrol 247 (RLM 76), a tone that comes close to the Lansens’ standard camouflage from the Sixties’ green/blue livery, with a darker front end (Humbrol 145) and a bare metal tail section.
The cockpit interior was, according to pictures of real aircraft, painted in a greenish grey; I used Revell 67 (RAL 7009, Grüngrau) for most surfaces and slightly darker Humbrol 163 for dashboards and instrument panels. The landing gear wells as well as the flaps’ interior became Aluminum Bronze (Humbrol 56), while the landing gear struts were painted in a bluish dark green (Humbrol 195) with olive drab (Revell 46) wheel hubs - a detail seen on some real-life Saab 32s and a nice contrast to the light grey all around.
All markings/decals came from RBD Studio/Moose Republic aftermarket sheets for Saab 32 and 37. From the latter the low-viz national markings and the day-glo orange tactical codes were taken, while most stencils came from the Lansen sheet. Unfortunately, the Heller kit’s OOB sheet is pretty minimalistic – but the real A/S 32s did not carry many markings, anyway. Finally, the kit was sealed with matt acrylic varnish. As a confusing detail I gave the aircraft an explicit “16M” unit identifier, created with single black 4 mm letters/numbers. As a stark contrast and a modern peace-time element I also gave the Lansen the typical huge day-glo orange tactical codes on the upper wings that were carried by the Swedish interceptors of the time.
A relatively simple build, thanks to the resin conversion set – otherwise, creating a more or less believable J 32E from Heller’s A 32 kit is a tough challenge. Though expensive, the parts fit and work well, and I’d recommend the set, because the shape of the J 32B’s lower nose is quite complex and scratching the bigger jet pipe needs a proper basis. The modern low-viz livery suits the vintage yet elegant Lansen well, even though it reveals the aircraft’s bulk and size; in all-grey, the Lansen has something shark- or even whale-ish to it? The aircraft/livery combo looks pretty exotic, but not uncredible - like a proven war horse.
From a square, divided 3x3.
This one is nice -- the landmarks are on the corners, mostly, and those tuck in. The curves are sine, more or less, and the volume is knowable. By someone else, I just know it's there.
CIA developed the highly secret A-12 OXCART as the U-2’s successor, intended to meet the nation’s need for a very fast, very high-flying reconnaissance aircraft that could avoid Soviet air defenses. CIA awarded the OXCART contract to Lockheed (builder of the U-2) in 1959. In 1965, after hundreds of hours flown at high personal risk by the elite team of CIA and Lockheed pilots, the A 12 was declared fully operational, attaining the design specifications of a sustained speed of Mach 3.2 at 90,000 feet altitude. The A-12 on display at CIA Headquarters—number eight in production of the 15 A-12s built—was the first of the operational fleet to be certified for Mach 3. No piloted operational jet aircraft has ever flown faster or higher. To learn more about the CIA, visit www.cia.gov.
Designer: Wang Dexing (王德兴)
1975, June
Develop the spirit to wage bitter struggle
Fayang jianku fendou jingshen (发扬艰苦奋斗精神)
Call nr.: BG E13/811 (Landsberger collection)
More? See: chineseposters.net/themes/seven-may-cadre-schools
Trying something new with my HC110 and my bulk Delta 400 film, but I probably should have taken the photo during the day and not in the middle of the night with no flash.
Oh well... Despite the dark quality it worked. Now to take a few new shots and test it during the day as I should have.
Director Tianliang Ma
~ a Taiwanese social reformer, philosopher, photographer, cinematographer, and film director
“This Guy, He Wishes to do the President’s Job!”
馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《這傢伙, 他想當總統!》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
Tianliang Ma is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan in Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, a photographer (portrait, fashion, commercial, digital, architectural, abstract photography), film director, and computer engineer now live and work in London; and most currently engage in his vocational professions of ‘Consultant of Immigration and Translations’. Maa is an author at the University of California, Berkeley, and the University of Michigan; an alumnus from Christ Church College at the University of Oxford, the University of Glamorgan, and National Taiwan University in Taipei on Taiwan.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Successful” (The indomitable spirit was brilliant to towering a great height from earth reaching the sky!
Individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
「氣壯山海‧頂天立地‧民富國強‧白金時代」 “Full of power and grandeur thrusts onto the mountain and ocean, towering a great height from earth reaching the sky for my people with good fortune and my country become stronger, builds a platinum era - white golden age.” (Chinese version for my way towards national election)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
www.facebook.com/hunyun22/info
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
www.facebook.com/sonate1c/info
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The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, 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
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, 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
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
See the video here: zerodriftmedia.com/airhog-180-mini-quad-develop-log/
Last but not least I completed creating my Airhog 180 Mini quad frame, at the exact same time I tested the Dragonfly 2206 2800KV motors in this make.
This is my 2nd 180 Mini Quad, the first was the XE180. It was pleasurable with the tiny 1306 3100KV motors, it was incredibly nimble but it does...
In 1884 tin ore was discovered in the Barrier Ranges, just west of the ridge known as Byjerkerno, about 75 km north of Broken Hill. Here, on the south side of the Euriowie Creek and mostly on the western side of the current Silver City Highway, a substantial settlement developed.
Its population grew to around 700, with more than 80 men employed in the tin mines.
The township was mostly built of galvanized iron, but boasted two banks, three stores, perhaps as many as six hotels and other places of business. By the end of 1887 there was a police station, even a race course, but no church. The local school closed in 1918, but after protests from the local community, it reopened on a part‐time basis. The teacher was stationed at nearby Tarrawingee and alternated between the communities.
Of the hotels, only the Euriowie continued to function until the 1930s when it was abandoned, and the post office closed about the same time. A tin‐dressing plant operated prior to World War II. Significant ruins of the town remain today, together with the cemetery located on the north eastern side of Euriowie Creek.
Early shareholders in the Euriowie tin‐field were rewarded with new found wealth, but these were not rich mines, raising just three or four tons of ore in 1899. By 1901 there were just twelve men employed in the Wheal Byjerkerno Mine.
Source: Visit Corner Country (visitcornercountry.com.au/corner-country-towns/euriowie/)
There were a few in the Barrier Ranges, such as THE LADY DON HOTEL which was situated between Torrowangie and Euriowie about 6.5km from the latter.