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Miletus and Piraeus were planned by Hippodamus "the father of urban planning". Both cities, as most during his time (circa 450 BC) were built on hillsides/tops.
The millennia old plan with narrow streets and practically no sidewalks creates a crowded, dysfunctional environment.
The New Urban context (ways of living and moving) clashes with the old plan.
See albums titled FUSED GRID and WIKIPEDIA for an alternative contemporary plan.
Smoking reduces sperm production, sperm defects, decreased motility of sperm and more dangerous is smoking reduces blood flow to penis, some cases of impotence.
How Smoking affects the reproductive organs in men?
– Studies have shown that the primary metabolite of smoke (are substances...
simplystopsmokingnow.com/index.php/2016/01/29/smoking-and...
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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We’ve been rushing around visiting family while we’re on our Christmas UK trip. Last night was the first time we tried to make dinner in our air bnb but we forgot supermarkets close at 4pm over here. Had to ransack a corner shop for what they had left which meant no potatoes. Oh well, they had frozen Yorkshire puddings and gravy powder. Thankfully we’re eating at relatives for the rest of Christmas who have fully stocked kitchens 😂 The Christmas pajamas combined with the dysfunctional dinner combine for the we’re here theme.
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Thank you to all those who expressed their sympathy following my moment of dysfunction on a bicycle, resulting in a crash on the pavement.
Only a few years ago, I did a similar thing where the wheels tangled with the kerb at the edge of the street, resulting in a crash on the grass footpath. I got a broken collar bone on the left shoulder from that one, and my experience is that broken or injured shoulder parts are the most uncomfortable and painful injuries you can have, as they affect your arm motor skills so much in everyday life.
This time I landed on the right shoulder, and while the collar bone was ok, the flesh and joints all around the shoulder are swollen resulting in similar motion loss, due to excruciating pain.
I have know almost stopped using my left hand to lift my right hand to the PC mouse - almost.
I am hoping that by the end of the coming weekend, I will be able to get back on the two wheeled horses, sleeping in my garage. Anything to stop using the bus to commute to work.
I hope you are all well and I will try to do some catchup on your photos, as abstince makes the heart grow fonder.
PS MY daughters comment on the reconstruction photo was a joke . . . . I hope.
For What it's Worth - Buffalo Springfield
One of my all time favourite bands!
I found this awesome clip and had to put a photo to it (Note: The Smothers Brothers was also one of my FAVES and this was live on their show - check out Tommy's face)
A little trivia for the younger generation who might not know this incredible band or realize what a Super Group they were and how many iconic artists
were to come out of it's short 25 month time together.
Buffalo Springfield is a North American rock group among the first wave of North American rock bands such as The Byrds and Lovin' Spoonful to become popular in the wake of British invasion bands. Appearances on the Ed Sullivan Show served as a springboard for the careers of Neil Young, Stephen Stills, Richie Furay and Jim Messina. Buffalo Springfield is best known for the song "For What It's Worth", a political anthem written by Stills in response to an LAPD assault on young hippies.
After the band's formation in April 1966, a series of disruptions, including infighting and the pressure of working in the music industry, resulted in constant changes in the group's lineup and ultimately culminated in the group's disbanding after roughly 25 months.
Buffalo Springfield released three albums but left many demo recordings, studio outtakes and live recordings, as well as a reputation for excellent personnel and high band dysfunction.[1] Despite the band's short tenure and limited output it was one of the most influential bands of the 1960s, with several solo careers, subsequent bands, and Rock and Roll Hall of Fame recognition for Buffalo Springfield, Crosby, Stills and Nash, and Neil Young separately. CSN, CSN&Y, Poco, Loggins and Messina, and Neil Young with Crazy Horse were immediate successors.
In October 2010, Furay, Stills, and Young took the stage for the first time in 40 years as Buffalo Springfield at the Bridge School Benefits, as the final act of a show including Eddie Vedder, Billy Idol, Elvis Costello and Emmylou Harris, Kris Kristopherson, and Modest Mouse. Furay, when asked by Rolling Stone if a tour would follow, said he'd see how it felt after a couple of weeks. A planned tour was announced in June 2011.
I will be at that concert when they come to Toronto :)
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Chris Matthews of Hardball discusses faith, service, and America's current political dysfunction with Rev. Bob McElroy
University of San Francisco
March 18, 2014
Photos by Carly Dahl
Leo T. McCarthy Center
Watch This Video On YouTube Here: youtu.be/DqXlvXVFQiw
How To Get Harder Erections - Simple Steps To Get Harder Erections And Last Longer
Grab Your Free Copy of The 3 Deadliest Myths About Erectile Dysfunction Here: bit.ly/Impotence-3DeadlyMythsOfErectileDysfunctionEbook It's hardly a news flash that exercise is very important to your overall health, but what you may well not have known is that getting enough exercise is also an important step toward minimizing your ED symptoms. Needless to say, don't be prepared to hear might be found from the folks who are selling you ED pills every month. They'd just as soon see you not do anything to minimize your symptoms so you'll keep buying from them on a monthly basis, but it's true. By itself, exercise is nearly certain not to be sufficient to get rid of ED totally, but it can absolutely help minimize your symptoms. Why Exercise Improves Your ED? At the core, erection dysfunction is a circulatory condition. It's all about blood flow. Think about it: What is it that triggers your penis to become erect? Blood flowing to it. The better your circulation and a lot more blood that flows into your erectile tissue, the firmer and stronger your erections will be. This explains why some exercises are better than others at reducing ED symptoms. Specifically, what you want are cardiovascular exercises. Yes, you want to work up a sweat, but more than that, you want to do an exercise that really gets your heart pumping. People will tell you that the best way to start out is to start out modestly. To invest in, say, quarter-hour of exercise, three to five times a week when you're first starting out. Then, as time passes, increase your duration slowly, and the number of days per week you're exercising. That's generally pretty good advice, but we'd like to add yet another wrinkle compared to that. For starters, Keep the exercise to three days a full week, but yes, gradually build-up the amount of time you may spend exercising. In addition to that though, find a sport you love. It could be anything. Kayaking, soccer, fencing, hiking...just make sure it's something you love, and something you're interested in. If you wish to undertake it, and are passionate about any of it, you'll naturally be inclined to do more of it. This is the reason you don't have to boost your exercise to more than three times per week. You'll be supplementing that with your new sports activity. Consider this to be your "sweat equity." This is the equity you placed into living a longer, healthier life. In exchange for your sweat equity, you'll get a wholesome heart and lungs, better circulation, more energy, more stamina, if you have ED, you'll notice a marked decrease in your symptoms. Unless you have ED, a good workout program won't guarantee that you'll never experience difficulties, but if so when you do, they'll be much milder than they otherwise could have been. A couple of relatively few people beyond "gym rats" who like to exercise, so consider it as an investment. That is why we used the term "sweat equity." We want you to think of it in exactly the same conditions as financial investments you make in your future. If you can put yourself for the reason that mindset, in case you supplement your regular exercise with a sport you love, you'll be much more likely to stay with it, and consistency is key. Exercise, and its overall effectiveness is only as effective as your commitment to it. The sole kind of exercise that comes with a caveat is bicycling. There's no doubt that it is a great way to get (and stay) in form, but they have one small drawback. Studies have shown that spending a lot of time cycling can result in an increased likelihood of issues with your prostate gland. Additionally, it may, in at least some cases, cause numbness around the penis, which while not quite exactly like ED, can decrease the quality of your erections definitely. In addition to cardio-based exercises and a normal fitness regimen, don't overlook the value of stretching. You can certainly do something similar to Tai Yoga or Chi, for example. Both of these are excellent ways to stretch and tone the muscles, and make an outstanding addition to your overall fitness routine. The best thing about Yoga is that it is a wonderful, meditative technique, in addition to being a terrific way to stretch. Start and modestly simply, and slowly work the right path into more advanced postures. The end result is simple: Exercise is not only good for your overall health, it's also good for your sexual health. If you're genuinely interested in maintaining a dynamic sex life well past your forties, when men begin experiencing sexual difficulties typically, then you are going to want to make regular physical exercise an important part of your daily routine. Again, the most important thing here is to make certain you pick a sport you are genuinely interested in, because that makes it easy to stay with it. Subscribe to my channel here: youtube.com/c/BretmcopelandBlogspot
via Men's Health Channel
शीघ्रपतन Erectile Dysfunction क्या होता है? शीघ्र गिर जाने को शीघ्रपतन कहते हैं। सेक्स के मामले में यह शब्द वीर्य के
स्खलन के लिए प्रयोग किया जाता है। पुरुष की इच्छा के विरुद्ध उसका वीर्य अचानक स्खलित हो जाए, स्त्री सहवास करते हुए
संभोग शुरू करते ही वीर्यपात....
Premature ejaculation (PE) is when ejaculation happens sooner than a man or his partner would like during
sex. Occasional PE is also known as rapid ejaculation, premature climax or early ejaculation.
Coronavirus disease 2019 (COVID-19) is a contagious disease caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2). The first case was identified in Wuhan, China, in December 2019. The disease has since spread worldwide, leading to an ongoing pandemic.
Symptoms of COVID-19 are variable, but often include fever, cough, fatigue, breathing difficulties, and loss of smell and taste. Symptoms begin one to fourteen days after exposure to the virus. Of those people who develop noticeable symptoms, most (81%) develop mild to moderate symptoms (up to mild pneumonia), while 14% develop severe symptoms (dyspnea, hypoxia, or more than 50% lung involvement on imaging), and 5% suffer critical symptoms (respiratory failure, shock, or multiorgan dysfunction). Older people are more likely to have severe symptoms. At least a third of the people who are infected with the virus remain asymptomatic and do not develop noticeable symptoms at any point in time, but they still can spread the disease.[ Around 20% of those people will remain asymptomatic throughout infection, and the rest will develop symptoms later on, becoming pre-symptomatic rather than asymptomatic and therefore having a higher risk of transmitting the virus to others. Some people continue to experience a range of effects—known as long COVID—for months after recovery, and damage to organs has been observed. Multi-year studies are underway to further investigate the long-term effects of the disease.
The virus that causes COVID-19 spreads mainly when an infected person is in close contact[a] with another person. Small droplets and aerosols containing the virus can spread from an infected person's nose and mouth as they breathe, cough, sneeze, sing, or speak. Other people are infected if the virus gets into their mouth, nose or eyes. The virus may also spread via contaminated surfaces, although this is not thought to be the main route of transmission. The exact route of transmission is rarely proven conclusively, but infection mainly happens when people are near each other for long enough. People who are infected can transmit the virus to another person up to two days before they themselves show symptoms, as can people who do not experience symptoms. People remain infectious for up to ten days after the onset of symptoms in moderate cases and up to 20 days in severe cases. Several testing methods have been developed to diagnose the disease. The standard diagnostic method is by detection of the virus' nucleic acid by real-time reverse transcription polymerase chain reaction (rRT-PCR), transcription-mediated amplification (TMA), or by reverse transcription loop-mediated isothermal amplification (RT-LAMP) from a nasopharyngeal swab.
Preventive measures include physical or social distancing, quarantining, ventilation of indoor spaces, covering coughs and sneezes, hand washing, and keeping unwashed hands away from the face. The use of face masks or coverings has been recommended in public settings to minimise the risk of transmissions. Several vaccines have been developed and several countries have initiated mass vaccination campaigns.
Although work is underway to develop drugs that inhibit the virus, the primary treatment is currently symptomatic. Management involves the treatment of symptoms, supportive care, isolation, and experimental measures.
SIGNS AND SYSTOMS
Symptoms of COVID-19 are variable, ranging from mild symptoms to severe illness. Common symptoms include headache, loss of smell and taste, nasal congestion and rhinorrhea, cough, muscle pain, sore throat, fever, diarrhea, and breathing difficulties. People with the same infection may have different symptoms, and their symptoms may change over time. Three common clusters of symptoms have been identified: one respiratory symptom cluster with cough, sputum, shortness of breath, and fever; a musculoskeletal symptom cluster with muscle and joint pain, headache, and fatigue; a cluster of digestive symptoms with abdominal pain, vomiting, and diarrhea. In people without prior ear, nose, and throat disorders, loss of taste combined with loss of smell is associated with COVID-19.
Most people (81%) develop mild to moderate symptoms (up to mild pneumonia), while 14% develop severe symptoms (dyspnea, hypoxia, or more than 50% lung involvement on imaging) and 5% of patients suffer critical symptoms (respiratory failure, shock, or multiorgan dysfunction). At least a third of the people who are infected with the virus do not develop noticeable symptoms at any point in time. These asymptomatic carriers tend not to get tested and can spread the disease. Other infected people will develop symptoms later, called "pre-symptomatic", or have very mild symptoms and can also spread the virus.
As is common with infections, there is a delay between the moment a person first becomes infected and the appearance of the first symptoms. The median delay for COVID-19 is four to five days. Most symptomatic people experience symptoms within two to seven days after exposure, and almost all will experience at least one symptom within 12 days.
Most people recover from the acute phase of the disease. However, some people continue to experience a range of effects for months after recovery—named long COVID—and damage to organs has been observed. Multi-year studies are underway to further investigate the long-term effects of the disease.
CAUSE
TRANSMISSION
Coronavirus disease 2019 (COVID-19) spreads from person to person mainly through the respiratory route after an infected person coughs, sneezes, sings, talks or breathes. A new infection occurs when virus-containing particles exhaled by an infected person, either respiratory droplets or aerosols, get into the mouth, nose, or eyes of other people who are in close contact with the infected person. During human-to-human transmission, an average 1000 infectious SARS-CoV-2 virions are thought to initiate a new infection.
The closer people interact, and the longer they interact, the more likely they are to transmit COVID-19. Closer distances can involve larger droplets (which fall to the ground) and aerosols, whereas longer distances only involve aerosols. Larger droplets can also turn into aerosols (known as droplet nuclei) through evaporation. The relative importance of the larger droplets and the aerosols is not clear as of November 2020; however, the virus is not known to spread between rooms over long distances such as through air ducts. Airborne transmission is able to particularly occur indoors, in high risk locations such as restaurants, choirs, gyms, nightclubs, offices, and religious venues, often when they are crowded or less ventilated. It also occurs in healthcare settings, often when aerosol-generating medical procedures are performed on COVID-19 patients.
Although it is considered possible there is no direct evidence of the virus being transmitted by skin to skin contact. A person could get COVID-19 indirectly by touching a contaminated surface or object before touching their own mouth, nose, or eyes, though this is not thought to be the main way the virus spreads. The virus is not known to spread through feces, urine, breast milk, food, wastewater, drinking water, or via animal disease vectors (although some animals can contract the virus from humans). It very rarely transmits from mother to baby during pregnancy.
Social distancing and the wearing of cloth face masks, surgical masks, respirators, or other face coverings are controls for droplet transmission. Transmission may be decreased indoors with well maintained heating and ventilation systems to maintain good air circulation and increase the use of outdoor air.
The number of people generally infected by one infected person varies. Coronavirus disease 2019 is more infectious than influenza, but less so than measles. It often spreads in clusters, where infections can be traced back to an index case or geographical location. There is a major role of "super-spreading events", where many people are infected by one person.
A person who is infected can transmit the virus to others up to two days before they themselves show symptoms, and even if symptoms never appear. People remain infectious in moderate cases for 7–12 days, and up to two weeks in severe cases. In October 2020, medical scientists reported evidence of reinfection in one person.
VIROLOGY
Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) is a novel severe acute respiratory syndrome coronavirus. It was first isolated from three people with pneumonia connected to the cluster of acute respiratory illness cases in Wuhan. All structural features of the novel SARS-CoV-2 virus particle occur in related coronaviruses in nature.
Outside the human body, the virus is destroyed by household soap, which bursts its protective bubble.
SARS-CoV-2 is closely related to the original SARS-CoV. It is thought to have an animal (zoonotic) origin. Genetic analysis has revealed that the coronavirus genetically clusters with the genus Betacoronavirus, in subgenus Sarbecovirus (lineage B) together with two bat-derived strains. It is 96% identical at the whole genome level to other bat coronavirus samples (BatCov RaTG13). The structural proteins of SARS-CoV-2 include membrane glycoprotein (M), envelope protein (E), nucleocapsid protein (N), and the spike protein (S). The M protein of SARS-CoV-2 is about 98% similar to the M protein of bat SARS-CoV, maintains around 98% homology with pangolin SARS-CoV, and has 90% homology with the M protein of SARS-CoV; whereas, the similarity is only around 38% with the M protein of MERS-CoV. The structure of the M protein resembles the sugar transporter SemiSWEET.
The many thousands of SARS-CoV-2 variants are grouped into clades. Several different clade nomenclatures have been proposed. Nextstrain divides the variants into five clades (19A, 19B, 20A, 20B, and 20C), while GISAID divides them into seven (L, O, V, S, G, GH, and GR).
Several notable variants of SARS-CoV-2 emerged in late 2020. Cluster 5 emerged among minks and mink farmers in Denmark. After strict quarantines and a mink euthanasia campaign, it is believed to have been eradicated. The Variant of Concern 202012/01 (VOC 202012/01) is believed to have emerged in the United Kingdom in September. The 501Y.V2 Variant, which has the same N501Y mutation, arose independently in South Africa.
SARS-CoV-2 VARIANTS
Three known variants of SARS-CoV-2 are currently spreading among global populations as of January 2021 including the UK Variant (referred to as B.1.1.7) first found in London and Kent, a variant discovered in South Africa (referred to as 1.351), and a variant discovered in Brazil (referred to as P.1).
Using Whole Genome Sequencing, epidemiology and modelling suggest the new UK variant ‘VUI – 202012/01’ (the first Variant Under Investigation in December 2020) transmits more easily than other strains.
PATHOPHYSIOLOGY
COVID-19 can affect the upper respiratory tract (sinuses, nose, and throat) and the lower respiratory tract (windpipe and lungs). The lungs are the organs most affected by COVID-19 because the virus accesses host cells via the enzyme angiotensin-converting enzyme 2 (ACE2), which is most abundant in type II alveolar cells of the lungs. The virus uses a special surface glycoprotein called a "spike" (peplomer) to connect to ACE2 and enter the host cell. The density of ACE2 in each tissue correlates with the severity of the disease in that tissue and decreasing ACE2 activity might be protective, though another view is that increasing ACE2 using angiotensin II receptor blocker medications could be protective. As the alveolar disease progresses, respiratory failure might develop and death may follow.
Whether SARS-CoV-2 is able to invade the nervous system remains unknown. The virus is not detected in the CNS of the majority of COVID-19 people with neurological issues. However, SARS-CoV-2 has been detected at low levels in the brains of those who have died from COVID-19, but these results need to be confirmed. SARS-CoV-2 could cause respiratory failure through affecting the brain stem as other coronaviruses have been found to invade the CNS. While virus has been detected in cerebrospinal fluid of autopsies, the exact mechanism by which it invades the CNS remains unclear and may first involve invasion of peripheral nerves given the low levels of ACE2 in the brain. The virus may also enter the bloodstream from the lungs and cross the blood-brain barrier to gain access to the CNS, possibly within an infected white blood cell.
The virus also affects gastrointestinal organs as ACE2 is abundantly expressed in the glandular cells of gastric, duodenal and rectal epithelium as well as endothelial cells and enterocytes of the small intestine.
The virus can cause acute myocardial injury and chronic damage to the cardiovascular system. An acute cardiac injury was found in 12% of infected people admitted to the hospital in Wuhan, China, and is more frequent in severe disease. Rates of cardiovascular symptoms are high, owing to the systemic inflammatory response and immune system disorders during disease progression, but acute myocardial injuries may also be related to ACE2 receptors in the heart. ACE2 receptors are highly expressed in the heart and are involved in heart function. A high incidence of thrombosis and venous thromboembolism have been found people transferred to Intensive care unit (ICU) with COVID-19 infections, and may be related to poor prognosis. Blood vessel dysfunction and clot formation (as suggested by high D-dimer levels caused by blood clots) are thought to play a significant role in mortality, incidences of clots leading to pulmonary embolisms, and ischaemic events within the brain have been noted as complications leading to death in people infected with SARS-CoV-2. Infection appears to set off a chain of vasoconstrictive responses within the body, constriction of blood vessels within the pulmonary circulation has also been posited as a mechanism in which oxygenation decreases alongside the presentation of viral pneumonia. Furthermore, microvascular blood vessel damage has been reported in a small number of tissue samples of the brains – without detected SARS-CoV-2 – and the olfactory bulbs from those who have died from COVID-19.
Another common cause of death is complications related to the kidneys. Early reports show that up to 30% of hospitalized patients both in China and in New York have experienced some injury to their kidneys, including some persons with no previous kidney problems.
Autopsies of people who died of COVID-19 have found diffuse alveolar damage, and lymphocyte-containing inflammatory infiltrates within the lung.
IMMUNOPATHOLOGY
Although SARS-CoV-2 has a tropism for ACE2-expressing epithelial cells of the respiratory tract, people with severe COVID-19 have symptoms of systemic hyperinflammation. Clinical laboratory findings of elevated IL-2, IL-7, IL-6, granulocyte-macrophage colony-stimulating factor (GM-CSF), interferon-γ inducible protein 10 (IP-10), monocyte chemoattractant protein 1 (MCP-1), macrophage inflammatory protein 1-α (MIP-1α), and tumour necrosis factor-α (TNF-α) indicative of cytokine release syndrome (CRS) suggest an underlying immunopathology.
Additionally, people with COVID-19 and acute respiratory distress syndrome (ARDS) have classical serum biomarkers of CRS, including elevated C-reactive protein (CRP), lactate dehydrogenase (LDH), D-dimer, and ferritin.
Systemic inflammation results in vasodilation, allowing inflammatory lymphocytic and monocytic infiltration of the lung and the heart. In particular, pathogenic GM-CSF-secreting T-cells were shown to correlate with the recruitment of inflammatory IL-6-secreting monocytes and severe lung pathology in people with COVID-19 . Lymphocytic infiltrates have also been reported at autopsy.
VIRAL AND HOST FACTORS
VIRUS PROTEINS
Multiple viral and host factors affect the pathogenesis of the virus. The S-protein, otherwise known as the spike protein, is the viral component that attaches to the host receptor via the ACE2 receptors. It includes two subunits: S1 and S2. S1 determines the virus host range and cellular tropism via the receptor binding domain. S2 mediates the membrane fusion of the virus to its potential cell host via the H1 and HR2, which are heptad repeat regions. Studies have shown that S1 domain induced IgG and IgA antibody levels at a much higher capacity. It is the focus spike proteins expression that are involved in many effective COVID-19 vaccines.
The M protein is the viral protein responsible for the transmembrane transport of nutrients. It is the cause of the bud release and the formation of the viral envelope. The N and E protein are accessory proteins that interfere with the host's immune response.
HOST FACTORS
Human angiotensin converting enzyme 2 (hACE2) is the host factor that SARS-COV2 virus targets causing COVID-19. Theoretically the usage of angiotensin receptor blockers (ARB) and ACE inhibitors upregulating ACE2 expression might increase morbidity with COVID-19, though animal data suggest some potential protective effect of ARB. However no clinical studies have proven susceptibility or outcomes. Until further data is available, guidelines and recommendations for hypertensive patients remain.
The virus' effect on ACE2 cell surfaces leads to leukocytic infiltration, increased blood vessel permeability, alveolar wall permeability, as well as decreased secretion of lung surfactants. These effects cause the majority of the respiratory symptoms. However, the aggravation of local inflammation causes a cytokine storm eventually leading to a systemic inflammatory response syndrome.
HOST CYTOKINE RESPONSE
The severity of the inflammation can be attributed to the severity of what is known as the cytokine storm. Levels of interleukin 1B, interferon-gamma, interferon-inducible protein 10, and monocyte chemoattractant protein 1 were all associated with COVID-19 disease severity. Treatment has been proposed to combat the cytokine storm as it remains to be one of the leading causes of morbidity and mortality in COVID-19 disease.
A cytokine storm is due to an acute hyperinflammatory response that is responsible for clinical illness in an array of diseases but in COVID-19, it is related to worse prognosis and increased fatality. The storm causes the acute respiratory distress syndrome, blood clotting events such as strokes, myocardial infarction, encephalitis, acute kidney injury, and vasculitis. The production of IL-1, IL-2, IL-6, TNF-alpha, and interferon-gamma, all crucial components of normal immune responses, inadvertently become the causes of a cytokine storm. The cells of the central nervous system, the microglia, neurons, and astrocytes, are also be involved in the release of pro-inflammatory cytokines affecting the nervous system, and effects of cytokine storms toward the CNS are not uncommon.
DIAGNOSIS
COVID-19 can provisionally be diagnosed on the basis of symptoms and confirmed using reverse transcription polymerase chain reaction (RT-PCR) or other nucleic acid testing of infected secretions. Along with laboratory testing, chest CT scans may be helpful to diagnose COVID-19 in individuals with a high clinical suspicion of infection. Detection of a past infection is possible with serological tests, which detect antibodies produced by the body in response to the infection.
VIRAL TESTING
The standard methods of testing for presence of SARS-CoV-2 are nucleic acid tests, which detects the presence of viral RNA fragments. As these tests detect RNA but not infectious virus, its "ability to determine duration of infectivity of patients is limited." The test is typically done on respiratory samples obtained by a nasopharyngeal swab; however, a nasal swab or sputum sample may also be used. Results are generally available within hours. The WHO has published several testing protocols for the disease.
A number of laboratories and companies have developed serological tests, which detect antibodies produced by the body in response to infection. Several have been evaluated by Public Health England and approved for use in the UK.
The University of Oxford's CEBM has pointed to mounting evidence that "a good proportion of 'new' mild cases and people re-testing positives after quarantine or discharge from hospital are not infectious, but are simply clearing harmless virus particles which their immune system has efficiently dealt with" and have called for "an international effort to standardize and periodically calibrate testing" On 7 September, the UK government issued "guidance for procedures to be implemented in laboratories to provide assurance of positive SARS-CoV-2 RNA results during periods of low prevalence, when there is a reduction in the predictive value of positive test results."
IMAGING
Chest CT scans may be helpful to diagnose COVID-19 in individuals with a high clinical suspicion of infection but are not recommended for routine screening. Bilateral multilobar ground-glass opacities with a peripheral, asymmetric, and posterior distribution are common in early infection. Subpleural dominance, crazy paving (lobular septal thickening with variable alveolar filling), and consolidation may appear as the disease progresses. Characteristic imaging features on chest radiographs and computed tomography (CT) of people who are symptomatic include asymmetric peripheral ground-glass opacities without pleural effusions.
Many groups have created COVID-19 datasets that include imagery such as the Italian Radiological Society which has compiled an international online database of imaging findings for confirmed cases. Due to overlap with other infections such as adenovirus, imaging without confirmation by rRT-PCR is of limited specificity in identifying COVID-19. A large study in China compared chest CT results to PCR and demonstrated that though imaging is less specific for the infection, it is faster and more sensitive.
Coding
In late 2019, the WHO assigned emergency ICD-10 disease codes U07.1 for deaths from lab-confirmed SARS-CoV-2 infection and U07.2 for deaths from clinically or epidemiologically diagnosed COVID-19 without lab-confirmed SARS-CoV-2 infection.
PATHOLOGY
The main pathological findings at autopsy are:
Macroscopy: pericarditis, lung consolidation and pulmonary oedema
Lung findings:
minor serous exudation, minor fibrin exudation
pulmonary oedema, pneumocyte hyperplasia, large atypical pneumocytes, interstitial inflammation with lymphocytic infiltration and multinucleated giant cell formation
diffuse alveolar damage (DAD) with diffuse alveolar exudates. DAD is the cause of acute respiratory distress syndrome (ARDS) and severe hypoxemia.
organisation of exudates in alveolar cavities and pulmonary interstitial fibrosis
plasmocytosis in BAL
Blood: disseminated intravascular coagulation (DIC); leukoerythroblastic reaction
Liver: microvesicular steatosis
PREVENTION
Preventive measures to reduce the chances of infection include staying at home, wearing a mask in public, avoiding crowded places, keeping distance from others, ventilating indoor spaces, washing hands with soap and water often and for at least 20 seconds, practising good respiratory hygiene, and avoiding touching the eyes, nose, or mouth with unwashed hands.
Those diagnosed with COVID-19 or who believe they may be infected are advised by the CDC to stay home except to get medical care, call ahead before visiting a healthcare provider, wear a face mask before entering the healthcare provider's office and when in any room or vehicle with another person, cover coughs and sneezes with a tissue, regularly wash hands with soap and water and avoid sharing personal household items.
The first COVID-19 vaccine was granted regulatory approval on 2 December by the UK medicines regulator MHRA. It was evaluated for emergency use authorization (EUA) status by the US FDA, and in several other countries. Initially, the US National Institutes of Health guidelines do not recommend any medication for prevention of COVID-19, before or after exposure to the SARS-CoV-2 virus, outside the setting of a clinical trial. Without a vaccine, other prophylactic measures, or effective treatments, a key part of managing COVID-19 is trying to decrease and delay the epidemic peak, known as "flattening the curve". This is done by slowing the infection rate to decrease the risk of health services being overwhelmed, allowing for better treatment of current cases, and delaying additional cases until effective treatments or a vaccine become available.
VACCINE
A COVID‑19 vaccine is a vaccine intended to provide acquired immunity against severe acute respiratory syndrome coronavirus 2 (SARS‑CoV‑2), the virus causing coronavirus disease 2019 (COVID‑19). Prior to the COVID‑19 pandemic, there was an established body of knowledge about the structure and function of coronaviruses causing diseases like severe acute respiratory syndrome (SARS) and Middle East respiratory syndrome (MERS), which enabled accelerated development of various vaccine technologies during early 2020. On 10 January 2020, the SARS-CoV-2 genetic sequence data was shared through GISAID, and by 19 March, the global pharmaceutical industry announced a major commitment to address COVID-19.
In Phase III trials, several COVID‑19 vaccines have demonstrated efficacy as high as 95% in preventing symptomatic COVID‑19 infections. As of March 2021, 12 vaccines were authorized by at least one national regulatory authority for public use: two RNA vaccines (the Pfizer–BioNTech vaccine and the Moderna vaccine), four conventional inactivated vaccines (BBIBP-CorV, CoronaVac, Covaxin, and CoviVac), four viral vector vaccines (Sputnik V, the Oxford–AstraZeneca vaccine, Convidicea, and the Johnson & Johnson vaccine), and two protein subunit vaccines (EpiVacCorona and RBD-Dimer). In total, as of March 2021, 308 vaccine candidates were in various stages of development, with 73 in clinical research, including 24 in Phase I trials, 33 in Phase I–II trials, and 16 in Phase III development.
Many countries have implemented phased distribution plans that prioritize those at highest risk of complications, such as the elderly, and those at high risk of exposure and transmission, such as healthcare workers. As of 17 March 2021, 400.22 million doses of COVID‑19 vaccine have been administered worldwide based on official reports from national health agencies. AstraZeneca-Oxford anticipates producing 3 billion doses in 2021, Pfizer-BioNTech 1.3 billion doses, and Sputnik V, Sinopharm, Sinovac, and Johnson & Johnson 1 billion doses each. Moderna targets producing 600 million doses and Convidicea 500 million doses in 2021. By December 2020, more than 10 billion vaccine doses had been preordered by countries, with about half of the doses purchased by high-income countries comprising 14% of the world's population.
SOCIAL DISTANCING
Social distancing (also known as physical distancing) includes infection control actions intended to slow the spread of the disease by minimising close contact between individuals. Methods include quarantines; travel restrictions; and the closing of schools, workplaces, stadiums, theatres, or shopping centres. Individuals may apply social distancing methods by staying at home, limiting travel, avoiding crowded areas, using no-contact greetings, and physically distancing themselves from others. Many governments are now mandating or recommending social distancing in regions affected by the outbreak.
Outbreaks have occurred in prisons due to crowding and an inability to enforce adequate social distancing. In the United States, the prisoner population is aging and many of them are at high risk for poor outcomes from COVID-19 due to high rates of coexisting heart and lung disease, and poor access to high-quality healthcare.
SELF-ISOLATION
Self-isolation at home has been recommended for those diagnosed with COVID-19 and those who suspect they have been infected. Health agencies have issued detailed instructions for proper self-isolation. Many governments have mandated or recommended self-quarantine for entire populations. The strongest self-quarantine instructions have been issued to those in high-risk groups. Those who may have been exposed to someone with COVID-19 and those who have recently travelled to a country or region with the widespread transmission have been advised to self-quarantine for 14 days from the time of last possible exposure.
Face masks and respiratory hygiene
The WHO and the US CDC recommend individuals wear non-medical face coverings in public settings where there is an increased risk of transmission and where social distancing measures are difficult to maintain. This recommendation is meant to reduce the spread of the disease by asymptomatic and pre-symptomatic individuals and is complementary to established preventive measures such as social distancing. Face coverings limit the volume and travel distance of expiratory droplets dispersed when talking, breathing, and coughing. A face covering without vents or holes will also filter out particles containing the virus from inhaled and exhaled air, reducing the chances of infection. But, if the mask include an exhalation valve, a wearer that is infected (maybe without having noticed that, and asymptomatic) would transmit the virus outwards through it, despite any certification they can have. So the masks with exhalation valve are not for the infected wearers, and are not reliable to stop the pandemic in a large scale. Many countries and local jurisdictions encourage or mandate the use of face masks or cloth face coverings by members of the public to limit the spread of the virus.
Masks are also strongly recommended for those who may have been infected and those taking care of someone who may have the disease. When not wearing a mask, the CDC recommends covering the mouth and nose with a tissue when coughing or sneezing and recommends using the inside of the elbow if no tissue is available. Proper hand hygiene after any cough or sneeze is encouraged. Healthcare professionals interacting directly with people who have COVID-19 are advised to use respirators at least as protective as NIOSH-certified N95 or equivalent, in addition to other personal protective equipment.
HAND-WASHING AND HYGIENE
Thorough hand hygiene after any cough or sneeze is required. The WHO also recommends that individuals wash hands often with soap and water for at least 20 seconds, especially after going to the toilet or when hands are visibly dirty, before eating and after blowing one's nose. The CDC recommends using an alcohol-based hand sanitiser with at least 60% alcohol, but only when soap and water are not readily available. For areas where commercial hand sanitisers are not readily available, the WHO provides two formulations for local production. In these formulations, the antimicrobial activity arises from ethanol or isopropanol. Hydrogen peroxide is used to help eliminate bacterial spores in the alcohol; it is "not an active substance for hand antisepsis". Glycerol is added as a humectant.
SURFACE CLEANING
After being expelled from the body, coronaviruses can survive on surfaces for hours to days. If a person touches the dirty surface, they may deposit the virus at the eyes, nose, or mouth where it can enter the body cause infection. Current evidence indicates that contact with infected surfaces is not the main driver of Covid-19, leading to recommendations for optimised disinfection procedures to avoid issues such as the increase of antimicrobial resistance through the use of inappropriate cleaning products and processes. Deep cleaning and other surface sanitation has been criticized as hygiene theater, giving a false sense of security against something primarily spread through the air.
The amount of time that the virus can survive depends significantly on the type of surface, the temperature, and the humidity. Coronaviruses die very quickly when exposed to the UV light in sunlight. Like other enveloped viruses, SARS-CoV-2 survives longest when the temperature is at room temperature or lower, and when the relative humidity is low (<50%).
On many surfaces, including as glass, some types of plastic, stainless steel, and skin, the virus can remain infective for several days indoors at room temperature, or even about a week under ideal conditions. On some surfaces, including cotton fabric and copper, the virus usually dies after a few hours. As a general rule of thumb, the virus dies faster on porous surfaces than on non-porous surfaces.
However, this rule is not absolute, and of the many surfaces tested, two with the longest survival times are N95 respirator masks and surgical masks, both of which are considered porous surfaces.
Surfaces may be decontaminated with 62–71 percent ethanol, 50–100 percent isopropanol, 0.1 percent sodium hypochlorite, 0.5 percent hydrogen peroxide, and 0.2–7.5 percent povidone-iodine. Other solutions, such as benzalkonium chloride and chlorhexidine gluconate, are less effective. Ultraviolet germicidal irradiation may also be used. The CDC recommends that if a COVID-19 case is suspected or confirmed at a facility such as an office or day care, all areas such as offices, bathrooms, common areas, shared electronic equipment like tablets, touch screens, keyboards, remote controls, and ATM machines used by the ill persons should be disinfected. A datasheet comprising the authorised substances to disinfection in the food industry (including suspension or surface tested, kind of surface, use dilution, disinfectant and inocuylum volumes) can be seen in the supplementary material of.
VENTILATION AND AIR FILTRATION
The WHO recommends ventilation and air filtration in public spaces to help clear out infectious aerosols.
HEALTHY DIET AND LIFESTYLE
The Harvard T.H. Chan School of Public Health recommends a healthy diet, being physically active, managing psychological stress, and getting enough sleep.
While there is no evidence that vitamin D is an effective treatment for COVID-19, there is limited evidence that vitamin D deficiency increases the risk of severe COVID-19 symptoms. This has led to recommendations for individuals with vitamin D deficiency to take vitamin D supplements as a way of mitigating the risk of COVID-19 and other health issues associated with a possible increase in deficiency due to social distancing.
TREATMENT
There is no specific, effective treatment or cure for coronavirus disease 2019 (COVID-19), the disease caused by the SARS-CoV-2 virus. Thus, the cornerstone of management of COVID-19 is supportive care, which includes treatment to relieve symptoms, fluid therapy, oxygen support and prone positioning as needed, and medications or devices to support other affected vital organs.
Most cases of COVID-19 are mild. In these, supportive care includes medication such as paracetamol or NSAIDs to relieve symptoms (fever, body aches, cough), proper intake of fluids, rest, and nasal breathing. Good personal hygiene and a healthy diet are also recommended. The U.S. Centers for Disease Control and Prevention (CDC) recommend that those who suspect they are carrying the virus isolate themselves at home and wear a face mask.
People with more severe cases may need treatment in hospital. In those with low oxygen levels, use of the glucocorticoid dexamethasone is strongly recommended, as it can reduce the risk of death. Noninvasive ventilation and, ultimately, admission to an intensive care unit for mechanical ventilation may be required to support breathing. Extracorporeal membrane oxygenation (ECMO) has been used to address the issue of respiratory failure, but its benefits are still under consideration.
Several experimental treatments are being actively studied in clinical trials. Others were thought to be promising early in the pandemic, such as hydroxychloroquine and lopinavir/ritonavir, but later research found them to be ineffective or even harmful. Despite ongoing research, there is still not enough high-quality evidence to recommend so-called early treatment. Nevertheless, in the United States, two monoclonal antibody-based therapies are available for early use in cases thought to be at high risk of progression to severe disease. The antiviral remdesivir is available in the U.S., Canada, Australia, and several other countries, with varying restrictions; however, it is not recommended for people needing mechanical ventilation, and is discouraged altogether by the World Health Organization (WHO), due to limited evidence of its efficacy.
PROGNOSIS
The severity of COVID-19 varies. The disease may take a mild course with few or no symptoms, resembling other common upper respiratory diseases such as the common cold. In 3–4% of cases (7.4% for those over age 65) symptoms are severe enough to cause hospitalization. Mild cases typically recover within two weeks, while those with severe or critical diseases may take three to six weeks to recover. Among those who have died, the time from symptom onset to death has ranged from two to eight weeks. The Italian Istituto Superiore di Sanità reported that the median time between the onset of symptoms and death was twelve days, with seven being hospitalised. However, people transferred to an ICU had a median time of ten days between hospitalisation and death. Prolonged prothrombin time and elevated C-reactive protein levels on admission to the hospital are associated with severe course of COVID-19 and with a transfer to ICU.
Some early studies suggest 10% to 20% of people with COVID-19 will experience symptoms lasting longer than a month.[191][192] A majority of those who were admitted to hospital with severe disease report long-term problems including fatigue and shortness of breath. On 30 October 2020 WHO chief Tedros Adhanom warned that "to a significant number of people, the COVID virus poses a range of serious long-term effects". He has described the vast spectrum of COVID-19 symptoms that fluctuate over time as "really concerning." They range from fatigue, a cough and shortness of breath, to inflammation and injury of major organs – including the lungs and heart, and also neurological and psychologic effects. Symptoms often overlap and can affect any system in the body. Infected people have reported cyclical bouts of fatigue, headaches, months of complete exhaustion, mood swings, and other symptoms. Tedros has concluded that therefore herd immunity is "morally unconscionable and unfeasible".
In terms of hospital readmissions about 9% of 106,000 individuals had to return for hospital treatment within 2 months of discharge. The average to readmit was 8 days since first hospital visit. There are several risk factors that have been identified as being a cause of multiple admissions to a hospital facility. Among these are advanced age (above 65 years of age) and presence of a chronic condition such as diabetes, COPD, heart failure or chronic kidney disease.
According to scientific reviews smokers are more likely to require intensive care or die compared to non-smokers, air pollution is similarly associated with risk factors, and pre-existing heart and lung diseases and also obesity contributes to an increased health risk of COVID-19.
It is also assumed that those that are immunocompromised are at higher risk of getting severely sick from SARS-CoV-2. One research that looked into the COVID-19 infections in hospitalized kidney transplant recipients found a mortality rate of 11%.
See also: Impact of the COVID-19 pandemic on children
Children make up a small proportion of reported cases, with about 1% of cases being under 10 years and 4% aged 10–19 years. They are likely to have milder symptoms and a lower chance of severe disease than adults. A European multinational study of hospitalized children published in The Lancet on 25 June 2020 found that about 8% of children admitted to a hospital needed intensive care. Four of those 582 children (0.7%) died, but the actual mortality rate could be "substantially lower" since milder cases that did not seek medical help were not included in the study.
Genetics also plays an important role in the ability to fight off the disease. For instance, those that do not produce detectable type I interferons or produce auto-antibodies against these may get much sicker from COVID-19. Genetic screening is able to detect interferon effector genes.
Pregnant women may be at higher risk of severe COVID-19 infection based on data from other similar viruses, like SARS and MERS, but data for COVID-19 is lacking.
COMPLICATIONS
Complications may include pneumonia, acute respiratory distress syndrome (ARDS), multi-organ failure, septic shock, and death. Cardiovascular complications may include heart failure, arrhythmias, heart inflammation, and blood clots. Approximately 20–30% of people who present with COVID-19 have elevated liver enzymes, reflecting liver injury.
Neurologic manifestations include seizure, stroke, encephalitis, and Guillain–Barré syndrome (which includes loss of motor functions). Following the infection, children may develop paediatric multisystem inflammatory syndrome, which has symptoms similar to Kawasaki disease, which can be fatal. In very rare cases, acute encephalopathy can occur, and it can be considered in those who have been diagnosed with COVID-19 and have an altered mental status.
LONGER-TERM EFFECTS
Some early studies suggest that that 10 to 20% of people with COVID-19 will experience symptoms lasting longer than a month. A majority of those who were admitted to hospital with severe disease report long-term problems, including fatigue and shortness of breath. About 5-10% of patients admitted to hospital progress to severe or critical disease, including pneumonia and acute respiratory failure.
By a variety of mechanisms, the lungs are the organs most affected in COVID-19.[228] The majority of CT scans performed show lung abnormalities in people tested after 28 days of illness.
People with advanced age, severe disease, prolonged ICU stays, or who smoke are more likely to have long lasting effects, including pulmonary fibrosis. Overall, approximately one third of those investigated after 4 weeks will have findings of pulmonary fibrosis or reduced lung function as measured by DLCO, even in people who are asymptomatic, but with the suggestion of continuing improvement with the passing of more time.
IMMUNITY
The immune response by humans to CoV-2 virus occurs as a combination of the cell-mediated immunity and antibody production, just as with most other infections. Since SARS-CoV-2 has been in the human population only since December 2019, it remains unknown if the immunity is long-lasting in people who recover from the disease. The presence of neutralizing antibodies in blood strongly correlates with protection from infection, but the level of neutralizing antibody declines with time. Those with asymptomatic or mild disease had undetectable levels of neutralizing antibody two months after infection. In another study, the level of neutralizing antibody fell 4-fold 1 to 4 months after the onset of symptoms. However, the lack of antibody in the blood does not mean antibody will not be rapidly produced upon reexposure to SARS-CoV-2. Memory B cells specific for the spike and nucleocapsid proteins of SARS-CoV-2 last for at least 6 months after appearance of symptoms. Nevertheless, 15 cases of reinfection with SARS-CoV-2 have been reported using stringent CDC criteria requiring identification of a different variant from the second infection. There are likely to be many more people who have been reinfected with the virus. Herd immunity will not eliminate the virus if reinfection is common. Some other coronaviruses circulating in people are capable of reinfection after roughly a year. Nonetheless, on 3 March 2021, scientists reported that a much more contagious Covid-19 variant, Lineage P.1, first detected in Japan, and subsequently found in Brazil, as well as in several places in the United States, may be associated with Covid-19 disease reinfection after recovery from an earlier Covid-19 infection.
MORTALITY
Several measures are commonly used to quantify mortality. These numbers vary by region and over time and are influenced by the volume of testing, healthcare system quality, treatment options, time since the initial outbreak, and population characteristics such as age, sex, and overall health. The mortality rate reflects the number of deaths within a specific demographic group divided by the population of that demographic group. Consequently, the mortality rate reflects the prevalence as well as the severity of the disease within a given population. Mortality rates are highly correlated to age, with relatively low rates for young people and relatively high rates among the elderly.
The case fatality rate (CFR) reflects the number of deaths divided by the number of diagnosed cases within a given time interval. Based on Johns Hopkins University statistics, the global death-to-case ratio is 2.2% (2,685,770/121,585,388) as of 18 March 2021. The number varies by region. The CFR may not reflect the true severity of the disease, because some infected individuals remain asymptomatic or experience only mild symptoms, and hence such infections may not be included in official case reports. Moreover, the CFR may vary markedly over time and across locations due to the availability of live virus tests.
INFECTION FATALITY RATE
A key metric in gauging the severity of COVID-19 is the infection fatality rate (IFR), also referred to as the infection fatality ratio or infection fatality risk. This metric is calculated by dividing the total number of deaths from the disease by the total number of infected individuals; hence, in contrast to the CFR, the IFR incorporates asymptomatic and undiagnosed infections as well as reported cases.
CURRENT ESTIMATES
A December 2020 systematic review and meta-analysis estimated that population IFR during the first wave of the pandemic was about 0.5% to 1% in many locations (including France, Netherlands, New Zealand, and Portugal), 1% to 2% in other locations (Australia, England, Lithuania, and Spain), and exceeded 2% in Italy. That study also found that most of these differences in IFR reflected corresponding differences in the age composition of the population and age-specific infection rates; in particular, the metaregression estimate of IFR is very low for children and younger adults (e.g., 0.002% at age 10 and 0.01% at age 25) but increases progressively to 0.4% at age 55, 1.4% at age 65, 4.6% at age 75, and 15% at age 85. These results were also highlighted in a December 2020 report issued by the WHO.
EARLIER ESTIMATES OF IFR
At an early stage of the pandemic, the World Health Organization reported estimates of IFR between 0.3% and 1%.[ On 2 July, The WHO's chief scientist reported that the average IFR estimate presented at a two-day WHO expert forum was about 0.6%. In August, the WHO found that studies incorporating data from broad serology testing in Europe showed IFR estimates converging at approximately 0.5–1%. Firm lower limits of IFRs have been established in a number of locations such as New York City and Bergamo in Italy since the IFR cannot be less than the population fatality rate. As of 10 July, in New York City, with a population of 8.4 million, 23,377 individuals (18,758 confirmed and 4,619 probable) have died with COVID-19 (0.3% of the population).Antibody testing in New York City suggested an IFR of ~0.9%,[258] and ~1.4%. In Bergamo province, 0.6% of the population has died. In September 2020 the U.S. Center for Disease Control & Prevention reported preliminary estimates of age-specific IFRs for public health planning purposes.
SEX DIFFERENCES
Early reviews of epidemiologic data showed gendered impact of the pandemic and a higher mortality rate in men in China and Italy. The Chinese Center for Disease Control and Prevention reported the death rate was 2.8% for men and 1.7% for women. Later reviews in June 2020 indicated that there is no significant difference in susceptibility or in CFR between genders. One review acknowledges the different mortality rates in Chinese men, suggesting that it may be attributable to lifestyle choices such as smoking and drinking alcohol rather than genetic factors. Sex-based immunological differences, lesser prevalence of smoking in women and men developing co-morbid conditions such as hypertension at a younger age than women could have contributed to the higher mortality in men. In Europe, 57% of the infected people were men and 72% of those died with COVID-19 were men. As of April 2020, the US government is not tracking sex-related data of COVID-19 infections. Research has shown that viral illnesses like Ebola, HIV, influenza and SARS affect men and women differently.
ETHNIC DIFFERENCES
In the US, a greater proportion of deaths due to COVID-19 have occurred among African Americans and other minority groups. Structural factors that prevent them from practicing social distancing include their concentration in crowded substandard housing and in "essential" occupations such as retail grocery workers, public transit employees, health-care workers and custodial staff. Greater prevalence of lacking health insurance and care and of underlying conditions such as diabetes, hypertension and heart disease also increase their risk of death. Similar issues affect Native American and Latino communities. According to a US health policy non-profit, 34% of American Indian and Alaska Native People (AIAN) non-elderly adults are at risk of serious illness compared to 21% of white non-elderly adults. The source attributes it to disproportionately high rates of many health conditions that may put them at higher risk as well as living conditions like lack of access to clean water. Leaders have called for efforts to research and address the disparities. In the U.K., a greater proportion of deaths due to COVID-19 have occurred in those of a Black, Asian, and other ethnic minority background. More severe impacts upon victims including the relative incidence of the necessity of hospitalization requirements, and vulnerability to the disease has been associated via DNA analysis to be expressed in genetic variants at chromosomal region 3, features that are associated with European Neanderthal heritage. That structure imposes greater risks that those affected will develop a more severe form of the disease. The findings are from Professor Svante Pääbo and researchers he leads at the Max Planck Institute for Evolutionary Anthropology and the Karolinska Institutet. This admixture of modern human and Neanderthal genes is estimated to have occurred roughly between 50,000 and 60,000 years ago in Southern Europe.
COMORBIDITIES
Most of those who die of COVID-19 have pre-existing (underlying) conditions, including hypertension, diabetes mellitus, and cardiovascular disease. According to March data from the United States, 89% of those hospitalised had preexisting conditions. The Italian Istituto Superiore di Sanità reported that out of 8.8% of deaths where medical charts were available, 96.1% of people had at least one comorbidity with the average person having 3.4 diseases. According to this report the most common comorbidities are hypertension (66% of deaths), type 2 diabetes (29.8% of deaths), Ischemic Heart Disease (27.6% of deaths), atrial fibrillation (23.1% of deaths) and chronic renal failure (20.2% of deaths).
Most critical respiratory comorbidities according to the CDC, are: moderate or severe asthma, pre-existing COPD, pulmonary fibrosis, cystic fibrosis. Evidence stemming from meta-analysis of several smaller research papers also suggests that smoking can be associated with worse outcomes. When someone with existing respiratory problems is infected with COVID-19, they might be at greater risk for severe symptoms. COVID-19 also poses a greater risk to people who misuse opioids and methamphetamines, insofar as their drug use may have caused lung damage.
In August 2020 the CDC issued a caution that tuberculosis infections could increase the risk of severe illness or death. The WHO recommended that people with respiratory symptoms be screened for both diseases, as testing positive for COVID-19 couldn't rule out co-infections. Some projections have estimated that reduced TB detection due to the pandemic could result in 6.3 million additional TB cases and 1.4 million TB related deaths by 2025.
NAME
During the initial outbreak in Wuhan, China, the virus and disease were commonly referred to as "coronavirus" and "Wuhan coronavirus", with the disease sometimes called "Wuhan pneumonia". In the past, many diseases have been named after geographical locations, such as the Spanish flu, Middle East Respiratory Syndrome, and Zika virus. In January 2020, the WHO recommended 2019-nCov and 2019-nCoV acute respiratory disease as interim names for the virus and disease per 2015 guidance and international guidelines against using geographical locations (e.g. Wuhan, China), animal species, or groups of people in disease and virus names in part to prevent social stigma. The official names COVID-19 and SARS-CoV-2 were issued by the WHO on 11 February 2020. Tedros Adhanom explained: CO for corona, VI for virus, D for disease and 19 for when the outbreak was first identified (31 December 2019). The WHO additionally uses "the COVID-19 virus" and "the virus responsible for COVID-19" in public communications.
HISTORY
The virus is thought to be natural and of an animal origin, through spillover infection. There are several theories about where the first case (the so-called patient zero) originated. Phylogenetics estimates that SARS-CoV-2 arose in October or November 2019. Evidence suggests that it descends from a coronavirus that infects wild bats, and spread to humans through an intermediary wildlife host.
The first known human infections were in Wuhan, Hubei, China. A study of the first 41 cases of confirmed COVID-19, published in January 2020 in The Lancet, reported the earliest date of onset of symptoms as 1 December 2019.Official publications from the WHO reported the earliest onset of symptoms as 8 December 2019. Human-to-human transmission was confirmed by the WHO and Chinese authorities by 20 January 2020. According to official Chinese sources, these were mostly linked to the Huanan Seafood Wholesale Market, which also sold live animals. In May 2020 George Gao, the director of the CDC, said animal samples collected from the seafood market had tested negative for the virus, indicating that the market was the site of an early superspreading event, but that it was not the site of the initial outbreak.[ Traces of the virus have been found in wastewater samples that were collected in Milan and Turin, Italy, on 18 December 2019.
By December 2019, the spread of infection was almost entirely driven by human-to-human transmission. The number of coronavirus cases in Hubei gradually increased, reaching 60 by 20 December, and at least 266 by 31 December. On 24 December, Wuhan Central Hospital sent a bronchoalveolar lavage fluid (BAL) sample from an unresolved clinical case to sequencing company Vision Medicals. On 27 and 28 December, Vision Medicals informed the Wuhan Central Hospital and the Chinese CDC of the results of the test, showing a new coronavirus. A pneumonia cluster of unknown cause was observed on 26 December and treated by the doctor Zhang Jixian in Hubei Provincial Hospital, who informed the Wuhan Jianghan CDC on 27 December. On 30 December, a test report addressed to Wuhan Central Hospital, from company CapitalBio Medlab, stated an erroneous positive result for SARS, causing a group of doctors at Wuhan Central Hospital to alert their colleagues and relevant hospital authorities of the result. The Wuhan Municipal Health Commission issued a notice to various medical institutions on "the treatment of pneumonia of unknown cause" that same evening. Eight of these doctors, including Li Wenliang (punished on 3 January), were later admonished by the police for spreading false rumours and another, Ai Fen, was reprimanded by her superiors for raising the alarm.
The Wuhan Municipal Health Commission made the first public announcement of a pneumonia outbreak of unknown cause on 31 December, confirming 27 cases—enough to trigger an investigation.
During the early stages of the outbreak, the number of cases doubled approximately every seven and a half days. In early and mid-January 2020, the virus spread to other Chinese provinces, helped by the Chinese New Year migration and Wuhan being a transport hub and major rail interchange. On 20 January, China reported nearly 140 new cases in one day, including two people in Beijing and one in Shenzhen. Later official data shows 6,174 people had already developed symptoms by then, and more may have been infected. A report in The Lancet on 24 January indicated human transmission, strongly recommended personal protective equipment for health workers, and said testing for the virus was essential due to its "pandemic potential". On 30 January, the WHO declared the coronavirus a Public Health Emergency of International Concern. By this time, the outbreak spread by a factor of 100 to 200 times.
Italy had its first confirmed cases on 31 January 2020, two tourists from China. As of 13 March 2020 the WHO considered Europe the active centre of the pandemic. Italy overtook China as the country with the most deaths on 19 March 2020. By 26 March the United States had overtaken China and Italy with the highest number of confirmed cases in the world. Research on coronavirus genomes indicates the majority of COVID-19 cases in New York came from European travellers, rather than directly from China or any other Asian country. Retesting of prior samples found a person in France who had the virus on 27 December 2019, and a person in the United States who died from the disease on 6 February 2020.
After 55 days without a locally transmitted case, Beijing reported a new COVID-19 case on 11 June 2020 which was followed by two more cases on 12 June. By 15 June there were 79 cases officially confirmed, most of them were people that went to Xinfadi Wholesale Market.
RT-PCR testing of untreated wastewater samples from Brazil and Italy have suggested detection of SARS-CoV-2 as early as November and December 2019, respectively, but the methods of such sewage studies have not been optimised, many have not been peer reviewed, details are often missing, and there is a risk of false positives due to contamination or if only one gene target is detected. A September 2020 review journal article said, "The possibility that the COVID-19 infection had already spread to Europe at the end of last year is now indicated by abundant, even if partially circumstantial, evidence", including pneumonia case numbers and radiology in France and Italy in November and December.
MISINFORMATION
After the initial outbreak of COVID-19, misinformation and disinformation regarding the origin, scale, prevention, treatment, and other aspects of the disease rapidly spread online.
In September 2020, the U.S. CDC published preliminary estimates of the risk of death by age groups in the United States, but those estimates were widely misreported and misunderstood.
OTHER ANIMALS
Humans appear to be capable of spreading the virus to some other animals, a type of disease transmission referred to as zooanthroponosis.
Some pets, especially cats and ferrets, can catch this virus from infected humans. Symptoms in cats include respiratory (such as a cough) and digestive symptoms. Cats can spread the virus to other cats, and may be able to spread the virus to humans, but cat-to-human transmission of SARS-CoV-2 has not been proven. Compared to cats, dogs are less susceptible to this infection. Behaviors which increase the risk of transmission include kissing, licking, and petting the animal.
The virus does not appear to be able to infect pigs, ducks, or chickens at all.[ Mice, rats, and rabbits, if they can be infected at all, are unlikely to be involved in spreading the virus.
Tigers and lions in zoos have become infected as a result of contact with infected humans. As expected, monkeys and great ape species such as orangutans can also be infected with the COVID-19 virus.
Minks, which are in the same family as ferrets, have been infected. Minks may be asymptomatic, and can also spread the virus to humans. Multiple countries have identified infected animals in mink farms. Denmark, a major producer of mink pelts, ordered the slaughter of all minks over fears of viral mutations. A vaccine for mink and other animals is being researched.
RESEARCH
International research on vaccines and medicines in COVID-19 is underway by government organisations, academic groups, and industry researchers. The CDC has classified it to require a BSL3 grade laboratory. There has been a great deal of COVID-19 research, involving accelerated research processes and publishing shortcuts to meet the global demand.
As of December 2020, hundreds of clinical trials have been undertaken, with research happening on every continent except Antarctica. As of November 2020, more than 200 possible treatments had been studied in humans so far.
Transmission and prevention research
Modelling research has been conducted with several objectives, including predictions of the dynamics of transmission, diagnosis and prognosis of infection, estimation of the impact of interventions, or allocation of resources. Modelling studies are mostly based on epidemiological models, estimating the number of infected people over time under given conditions. Several other types of models have been developed and used during the COVID-19 including computational fluid dynamics models to study the flow physics of COVID-19, retrofits of crowd movement models to study occupant exposure, mobility-data based models to investigate transmission, or the use of macroeconomic models to assess the economic impact of the pandemic. Further, conceptual frameworks from crisis management research have been applied to better understand the effects of COVID-19 on organizations worldwide.
TREATMENT-RELATED RESEARCH
Repurposed antiviral drugs make up most of the research into COVID-19 treatments. Other candidates in trials include vasodilators, corticosteroids, immune therapies, lipoic acid, bevacizumab, and recombinant angiotensin-converting enzyme 2.
In March 2020, the World Health Organization (WHO) initiated the Solidarity trial to assess the treatment effects of some promising drugs: an experimental drug called remdesivir; anti-malarial drugs chloroquine and hydroxychloroquine; two anti-HIV drugs, lopinavir/ritonavir; and interferon-beta. More than 300 active clinical trials were underway as of April 2020.
Research on the antimalarial drugs hydroxychloroquine and chloroquine showed that they were ineffective at best, and that they may reduce the antiviral activity of remdesivir. By May 2020, France, Italy, and Belgium had banned the use of hydroxychloroquine as a COVID-19 treatment.
In June, initial results from the randomised RECOVERY Trial in the United Kingdom showed that dexamethasone reduced mortality by one third for people who are critically ill on ventilators and one fifth for those receiving supplemental oxygen. Because this is a well-tested and widely available treatment, it was welcomed by the WHO, which is in the process of updating treatment guidelines to include dexamethasone and other steroids. Based on those preliminary results, dexamethasone treatment has been recommended by the NIH for patients with COVID-19 who are mechanically ventilated or who require supplemental oxygen but not in patients with COVID-19 who do not require supplemental oxygen.
In September 2020, the WHO released updated guidance on using corticosteroids for COVID-19. The WHO recommends systemic corticosteroids rather than no systemic corticosteroids for the treatment of people with severe and critical COVID-19 (strong recommendation, based on moderate certainty evidence). The WHO suggests not to use corticosteroids in the treatment of people with non-severe COVID-19 (conditional recommendation, based on low certainty evidence). The updated guidance was based on a meta-analysis of clinical trials of critically ill COVID-19 patients.
WIKIPEDIA
Five Days
A trip to Karachi in March has never on the cards for me. The month I spend there every January at Rashiqay’s was the routine now for years. Last year I had come though because my cousin, the only relative in our family who lived in Karachi, his father died. This year my father died and I wanted to leave Lahore and be somewhere quiet for a few days.
I landed in Karachi on a Friday and headed out on a Monday morning. I had decided on Ormara, a fishing village 5 hours from the city. I knew it well. I had been there a few times when nobody knew it existed, courtesy of a friend’s husband. Those trips were amongst the best of my life. Endless stretches of virgin beaches, gorgeous shells that adorn my bathroom sink to this day, unreal sunsets and the best part, the absence of human beings.
The beaches are coved by cliffs that are eroded naturally by wind. The drive is through the largest national park in Pakistan, Hingol. Which itself is endless stretches of the earthy mountain ranges of a range of colours, shapes and sizes. The highway is like an abandoned stretch for hundreds of kilometers. Usually one passes any number of trucks going between Karachi and Gawador or Quetta. This time there were hardly any.
My friend’s brother had kindly allowed me to use one of his cars. Everyone was a little on edge that I was having the driver drop me off and then come back 5 days later but I told them it would be fine. I got the info on the hotel from some friends who had stayed there. It was 2 stars at best, they told me, a number of small huts facing the beach. There was no electricity till 7pm and no hot water.
The hotel had one restaurant that served a daal and a veggie every day. Chicken could be ordered. Breakfast was eggs and parathas. “Take a kettle,” was the best suggestion I got. Then you could drink tea in the room and heat a quarter of a bucket if you needed to. The temperatures were hitting mid-80s, (28). Everything was perfect. I decided on a 7am departure to beat the traffic in the city which was almost always insane. I figured we would be there by noon.
It was the first time in my life I didn’t mind getting up super early for a trip. In the two days I had, I collected a bunch of dry snacky stuff so I was prepared. Nuts, chips, chocolate, dates, honey, hunter beef, bread, fruit. Yum! I planned on an egg for breakfast and the veggies for dinner.
On my way out of the house I asked the guard who I had started calling “Chacha” for some reason – paternal uncle – where the aloe vera plants were. He pointed me to them outside the house. I plucked two long leaves. He kept looking at me while I stuffed them into a plastic bag.
“They’re excellent for sunblock,” I said. “The other ones really burn my eyes.”
He looked like he was sorry he asked. Or looked I guess. He hadn’t asked.
Exactly three minutes from the house, I saw a man collecting garbage from the street. I see people collecting garbage more in Karachi than I have ever seen in another city in my life. Old, young, kids, men, women, it was a huge way of making some sort of living. It was also one of the hardest ways of earning a buck. The dumps were disgusting. Dogs urinated there all the time as did men.
I had read that there was a phase in his life when he was young man, that Ghaus Pak (ra), Hazrat Abdul Qadir Jilani (ra) went through people’s refuse to find food. I had been so shocked when I read that that I always kept ration in my car to give to people who collected and sold refuse.
Three minutes in I see the guy so I gestured to the driver to stop.
“I have to give him something,” I said.
He pulled over. I rolled down window a quarter ways and handed him a note. When I clicked the button for the window to roll back up, it didn’t move. I looked over the driver who was now on the road again. The car wasn’t ours. The last thing we were going to check was the windows.
“It will be ok in a little bit hopefully,” he said smiling.
I spent the next 10 minutes playing with the button. Finally he pulled over. I pressed “down” to see if maybe that would make it move in the opposite direction as well but that didn’t work. When the sound of the wind became too loud as our driving speed increased, I told him we had to find a solution. We pulled over and wrapped the window with plastic and scotch tape and went on our way.
After about three hours into the trip we finally saw Hingol in the distance. I looked at him excitedly, “Its coming. It’s going to blow you away. You’ll see,” I said. “Actually pull over. I need to take the first shot.”
There was literally no one and nothing around us for miles in any direction we looked. He started slowing down. It would take about a 100 meters before he came to a complete stop. As he did that I saw something on the other side of the road. I couldn’t tell what it was till we came closer and I realized it was an old man. He was just sitting on the road cross-legged.
His being where we happened to stop, in the middle of nowhere, was uncanny. I felt it was a windfall, that I was supposed to give him something, so I leapt of the car before it even came to a complete stop. The old man got up. I crossed the roads towards him.
“Baba,” I called out, my voice effusing familiarity, “Kya haal hai Baba?” How are you?
He just raised his hand as if he was patting my head in the air. I pulled out a note from my pocket and handed it to him. He looked pleased as if I had done a right thing. Then as I moved away, he gestured with his hands making them into the shape of someone holding a morsel towards his mouth.
“You want something to eat?” I asked.
“Water,” he said.
I asked the driver to take out one of the liter bottles from the trunk. Then I looked at my stash of food and brought him all my cheekos and guavas. There weren’t that many to begin with.
“You want some fruit?” I held up the bag for him to see in case he didn’t speak Urdu.
He nodded. I smiled at him and got back into the car. When we left him I felt bad I hadn’t given him the hunter beef. It had crossed my mind but I wanted it for myself. I sighed deeply. Was there ever going to be more evidence of my being an ass?
Once again I was recognizing, beyond doubt, that whatever good I did, I did because I was literally granted the ability to do it. Otherwise it was always the same story; my nafs and me trudging up and down the road of life, not knowing if we were coming or going.
Hingol looked a little different. I had been there last almost 10 years ago. The wind had eroded the ranges over the years. They were still stunning but they didn’t have the fine clarity of shape, the sharp points of the jagged ridges like before. I smiled. Like me, Hingol had aged. The face of the “sphinx” still remained but the rest of it was smaller. The Princess of Hope seemed exactly the same.
The driver was indeed blown away. Every time I looked over at him, he had a smile plastered on his face. It was exactly like the smile plastered on mine when I played Frisbee. Just one never-ending smile that was there literally the whole time. It was the only reason I told every single kid I met to play it.
They always listened to me smiling, most likely charmed by my excitement, and then forgot what I said a moment later. I also kept forgetting that as soon as you told them to do something, even if it was magical, a lever in their brain got pressed and a signal emoted, “Never doing that!”
For exactly that reason, I was especially enjoying the years in my niece, Sameena's, life where she was still obedient. Well, not entirely but at least when it came to the things that really mattered to me, which were all faith-related, she did what I asked.
It wasn’t much. I told her to pray every night or in the morning or actually anytime of the day by saying just a few words. “Allahu Rabbi,” Allah is my Lord who raises me, “Allahu Ma’a-i” Allah is with me “Allahu Shahid-i, Allah is my witness, “Allahu nadrian allayya” Allah gazes upon me.
The first was the most meaningful to my life as well. I said a tasbeeh of it every day. I used to think in my late 40s, how much “raising” is possible but I have learnt to my absolute delight, lots! The other three I had taught her because of a story I had heard of Hazrat Sahel Tustari (ra) whose tafseer is of a 1,000 verses of the Quran. It had been one of my readings last Ramadan. After, I had googled his name to see what else I would find.
There were only a handful of videos referencing him and in all of them was the same story. When he was 5 or less, his Uncle would get up for Tahajjud, the prayer before Fajr. He would come and stand beside him. His Uncle would then say “Go to sleep.” One day he taught him the three lines. Hazrat Tustari (ra) started saying them. When he was 15 years, he asked his teacher a question, “What makes the heart prostrate?” The teacher was stunned. Then he only said,
“When the body prostrates, it rises. Once the heart prostrates, it remains in that state forever.”
I had told Sameena the story. I made her repeat it several times, the meanings of the words she uttered, the story about what happens when the heart prostrates. I want her to ask something beyond her years when she hits 15. Something her heart quests for and only lies in a secret from God.
It was the same reason the only thing I made her do with me was to forgive herself every single day for that she was unable to do and also ask for forgiveness every single day. First from God, then to make absolute certain it was granted, His Beloved (peace be upon him), making it clear to her that his prayer would guarantee the acceptance of her repentance.
The days that she does that, her head bent, her eyes closed, her hands clasped together, repeating every single word I say without a question, she looks like the epitome of obedience to me. The delight it gives my heart is indescribable. Sometimes I throw in random things to see if I evoke a reaction. Like the last time when she had not spoken to me for a few weeks after my father died and didn’t mention him, I made her say,
“Please forgive me for not asking Mony if she’s alright after her Papa died.” She didn’t react but then she sent me tons of emojis with love and hearts.
After I unpacked at the hotel and had lunch with my driver, where I had devoured more of the chicken karahi I had no intention of eating, than he did, (it was that good), I decided to go for a swim. God bless Sami, who had told me to bring long pants and a full sleeved top.
Previously when I had come to the village, we had stayed at the naval base. Even the public beach was practically private so it didn’t matter what we wore. I imagined the same. But there were other guests, although not many, plus the hotel staff which was all male. There were also a bunch of random dogs of the same breed hanging around.
On the drive over, for no reason I had googled the words “sand therapy.” I wondered if there such a thing and if I could do it to myself. Lo and behold, of course there was. The Mandarin Oriental in Kuala Lumpur had begun one in 2019 in their spa.
It was called ‘‘psammotherapy,” using a therapeutic heated sand bed to melt away aches and soreness. When the sun hit its high, I noticed that I could only half see the dogs and I wondered why. Upon close inspection it turned out that the dogs had buried themselves in the and were already enjoying “sand therapy.”
I’m not a dog person. It was almost hard to admit that these days when people’s relationship with the particular animal has certainly discovered new peaks. For that matter I don’t like being around any animal. Well, any animal that can touch me. I got to used to cats at Abida’s but then cats act like you don’t exist so it’s great. I love birds but they’re scared of you. I haven’t seen any fish in the water around me for ages. They don’t come near you either. Seeing the dogs, who looked so relaxed and the opposite of hot under a burning sun, I have to admit I felt a certain regard for them.
I donned my full black gear and went out, my eyes on the ground. The water was perfect. The beach at Ormara has the most gradual gradient that I ever seen in my life. You could easily be a couple hundred meters into the water and it might reach your hips, if that. I swam and floated around for a while before heading back.
I decided to take a shower outdoors to avoid getting the room sandy. My friend Saneeah had been taking cold water showers to stimulate the vagus nerve. I had been humming to stimulate mine. I hate cold showers but the fact that there was no hot water immediately available made me amenable to them. It was warm outside anyway.
After I had a cup of tea I asked the manager to send someone from his staff with a bike to take me to one of the cliffs Sami had recommended for a walk at low tide. I hadn’t been on a bike in I don’t even know how long. On the way as I held on to the seat and my bag, I saw a man and a child collecting garbage.
“Look,” I pointed at them to the kid who was driving the bike.
“There’s even garbage collectors here. Is there even that much garbage?” I said to myself as I looked around. When we reached them I told the driver to stop.
“Do you have any money?” I asked him.
“Yes,” he replied. He pulled out his wallet and I took out the largest note he had.
“Bhai!” I called to the man. When he came over, I handed him the money.
He looked at it, then looked at me and said, “Allah aap to Imaan de.” May God bestow your heart with faith.
I was so stunned by the word he used, I thought I didn’t hear him right.
Leaning towards him from the bike I said, “Kya? Aap na kya dua di hai?” What did you just pray for me?
He raised his hands and repeated the words, “Allah aap to Imaan de.”
My jaw literally dropped. “Bhai,” I said fervently, “Mujhe ye dua zindagi mein kabhi kissi na nahi di.” No one in my entire life has ever prayed for me for this.
His expression didn’t change and he raised his hands “Allah aap to Imaan de.”
The emotion I felt can only be described as a lift-off. It was mix of elation and more elation and yet more elation. Like him, I repeated my words and just kept thanking him like a maniac.
Imaan is the jauhar, the jewel, the gist, the core, the essence of believing in God. It lies not in simply acknowledging Him. I had just written a piece in which I had shared what I had read and what I had heard about Imaan. Let’s just say it was pretty difficult for one to reach the stage and state of being of the ones addressed 72 time by God directly “Ya Ayyoha Alladina Aamino” O ye who attained to faith!” If someone’s prayer could transport me there, I don’t believe I could ever want anything else in life.
The bike ride to the cliffs was amazing. Sami had a gray rock with a shell carved into it, like the shell had lived in the rock and then suddenly disappeared. It was a fossil. It was gorgeous and perfect and I was dying for one.
As I walked around slowly, my head scanning the rocks on the ground, I saw two men sitting on the side chatting. They looked young. That’s the beauty about traveling in Pakistan. Everyone’s a kid compared to 50 year olds and the young are chilled everywhere the world over.
I looked up at them and, for no reason, announced, “I’m looking or a rock with a shell in it.” I don’t know why I told them that. They didn’t have a reaction. Instead they pointed to a duck parked in front of them and said, “You should take this. Otherwise dogs will eat it.” It was the perfect tit-for-tat to a random comment. I didn’t have a reaction either.
On my way back I saw my bike rider, Amir, speaking to them. When I passed them again, one of them asked, “What is your Youtube channel?”
I smiled. I had barely mentioned it in passing to Amir. I told them to come over and bring their phone so I could open it for them. I don’t know what they expected but it was not Sufi kalam. Of course I went off on a tangent about the Saints and who they were and the narrations and why they were chosen.
They looked at me intently. I couldn’t tell if they knew any of the names but I were to guess, it seemed unlikely. “We’ll listen to it later,” one of them said. Mobile data had to be used carefully. He clicked the “Subscribe” button though to make me happy.
I find men from two provinces in particular are very friendly to me. Pathans and now Baluchis. They never make me feel weird about dressing up like a boy, not being able to tell if I’m a boy or a girl, till I tell them. Even when they ask, as they did on this trip, “Bhai ho ke behen?” - Brother or sister? - there’s nothing stinging about the tone.
Punjabis are different. Pathans are like, “Cool.” And the Baluchis seemed to be like, “Who cares?” about everything. One man I saw was eating or snorting green stuff in packets, that was a drug for sure, as if it was a bag of peanuts and anyone could have a taste.
When I got home I had a plate of mixed sabzi and went through my photos. They were lovely but I could foretell I was going to average 100 shots a day so I wondered how I was going to make an album of no more than 50. I wrote a little and slept.
Day Two – The Shells
The next morning I decided to swim early instead of the afternoon. Time had come to no longer exist. I wasn’t wearing my wrist watch and the only other way to tell what hour it was was via a machine. All of mine were turned off.
It was liberating for someone like me who, despite not having a smart phone, schedules everything, even nothing. I easily average half a dozen reminders a day about the most minor to-dos. If I had dollar for every time someone said, “Your phone rang and I said, “It’s a reminder…”
It was Tuesday and the hotel seemed empty at that time except for a couple in a tent on the beach in front of us. In the dim light of the sunset I had thought it was a mother and her daughter. In the morn I saw it was a man with really long hair and a woman I assumed was his wife.
I walked into the water and marveled at how calm it was. Like a giant swimming pool, perfectly still. Even the waves that moved towards the shore were super silent and slow. It was one of the best swims I have had in my life. Being the only one in the water for miles was cool as hell.
In the afternoon I had planned to go to another beach where Sami had told me there were pools of water that were perfectly clear. I didn’t find the pools but I did find another beach about 30 minutes from the hotel. I asked the kid to drop me off there and come back in three hours. I had packed a sandwich and a thermos for tea. What I really wanted were shells. They weren’t the same at the beach in front of my hotel like they used to be several years ago when we came. I guess the presence of Man always depletes something in nature.
The drive to the other beach was fantastic. I took pictures I would have never been able to in a car, (everything has an upside), and wondered about this estranged province of my country; Baluchistan.
Everything about it is like a mystery. It’s like a secret that refuses to reveal itself. The endless mountains and cliffs made of earth blowing away with every breeze, changing every second, forming continually shifting faces and shapes endlessly.
It was as if every carving spoke, had a story to tell. One could look at a ridge and see what appeared to be silhouette from one side, only to see something entirely different from the other. That was mesmerizing. The mountains, the cliffs, the ranges, they were towering and majestic, awesome, but it was unforgettable that they were carved out of earth, not stone. They were humble not hard.
Everywhere I looked I felt a treasure was buried. As it is, no one knows what lies below the ground in Baluchistan, much like Afghanistan. The appearance of barren-ness hides precious elements; gold, granite, gypsum, oil, gas, marble and God only knows what else and how much of it.
When I passed by a couple of villages, I noticed that the houses seemed to made of a thick jute like sacky cloth, not even bricks or mud, which meant that light could not enter the space. They were tiny and had no windows. There was no water, no electricity, no gas, no schools, no hospitals. There was nothing for the people who lived there.
It made me wonder how many more years the people of the province would have to bear the injustice of being deprived. They were like the African Americans in the US. There was a fuss, only recently at that, when they were killed and then nobody cared again.
Yet the province has Gwador, one of a handful deep sea ports in the world. It is the most critical part of CPEC, which is China’s only escape from its endless conflicts with its rivals in the South China Sea. Not to mention shorter routes and more money. I sighed and prayed their savior would appear soon.
I had brought a special bag to carry the shells. But I wanted to wash them before I put them in it so I walked around the beach collecting the ones I liked in my hand, then went over to the water to take the sand out of them and put them in the bag. Each time I thought I was done, on the way back to the bag, I would see more I wanted. I must have made the trip back and forth half a dozen times. My favourites were the ones stuck together, whole, perfect. I had never seen those anywhere else in my life.
Soon after the kid came back to pick me up and I headed back to the hotel.
Day three – The Dogs
When I woke up the next morning I made a mistake. I decided to swim in the afternoon instead of the morning. I asked the Manager if he would find a way for me to get some shade on the beach so I could read there. I didn’t see any beach umbrellas so I suggested what we used to do when we came back in the day. Take 4 long sticks and tie a sheet on them. Very “Survivor” but it always worked. He managed to find an old beach umbrella and made a spot of shade for me where I took my Ipod, book and water.
Before that I ordered the same thing I ordered the day before, a desi omelette. When the guy from the restaurant came to give it to me, I saw he had a tray full of food for someone else. The eggs in it looked like Shashuka and delicious.
“What’s that?” I asked him.
“Gotaala,” he said.
“Mazar ka lag raha hai. Mein Chak rahi hun.” Looks yummy. I’m trying it.
I waited for a second to see if he would stop me and when he didn’t, I proceeded to take a spoonful and shove it in my mouth.
“Mmmm,” I smiled, “Bahut mazay ka hai. Kal mein bhi khaon gi.” I want this tomorrow.
He smiled too. Then he told me he wondered why there was guest in the hotel who was ordering an egg in the morning without a paratha and daal at night without a roti. I started laughing. I told him that like an idiot I had brought this loaf of bread for some reason from Karachi and was now having trouble finishing it.
“Tomorrow,” I pledged. “Parathas and gotaala.”
The bread wasn’t some sour dough from Okra. It was a small loaf of Milky Bread from Rehmet e Shireen. I had gone there to get some mithai to distribute. Every other person in the shop was buying the Milky Bread. Since I grew up on white bread, I was curious about it so I bought one too. It was good but the paratha looked amazing.
After, I went and sat on the sheet under the umbrella and put on my headphones, waiting for the wind to die down. It was then that I cried the first time. What evoked it was music. I still had to make my video for Hazrat Ali (ratu) and I had been listening to different versions of “Man Kunto Maula” to see what they would trigger in my head as to how I wanted to have Ustad do the rendition of the kalam.
For the first time, I had two narrations in my video, as opposed to one, so it was important to keep the length of it as a whole in mind. We had been delayed because, accidently and quite magically, Abida had come across the lines of the tarana in the lyrics and discovered that it was not just sounds but they had meaning to them.
The tarana is the part where it goes “tom tom tanananana nana nana re.” It’s where the song takes off. Any version you listen to. Abida told me that the words were actually a hamd, a song in praise of God. “Tom” each time meant something different. “I am You, I am Yours, I belong to You.” I was blown away by that. It was always the favourite part of the track for me but that was because the composition is beyond extraordinary because it is by Amir Khusaru (ra ).
I listened to a bunch of kalam and the weeping intensified when I heard “Dam hama dam Ali Ali” by Nusrat Fateh Ali Khan. It was the track I had made my niece learn a few lines to when she was 7. I hadn’t seen her in so long and I was wondering when I would meet her again. She had loved learning it and we had loved singing it together.
There had been more dogs than usual on the beach. But now since I had changed my attitude towards them I didn’t mind so much. “Sand therapy,” I said to myself as I saw them bury themselves one by one. At one point I went back to the room to grab a water.
On my way back I noticed a dog going over to where my sheet was. “Yikes” I thought, the “love” draining my system. I didn’t want the dog to even step on the sheet. Next thing I knew, he had lifted his leg over my cushion.
“Oyyyeee Kutttttttaayyyyy,” I yelled out at the top of my lungs running. Dooogggggg!
Of course it was too late. By the time I got there, the cushion was soaked. The dog didn’t even move when I charged towards it, moving away at a leisurely place while I stared at the mess. Luckily I saw one of the hotel staff picking up the tents of those who had camped on the beach.
“Bhai,” I called him over. I told him with dismay what the dog did apologizing profusely as if I owned it. I wasn’t sure how he would react to anyone having to wash dog pee. He was completely unfazed.
“Give the sheet also,” he said as a precaution. I gathered it and he went off.
Later I was laughing to myself at how I had just screamed the word in Urdu for the animal. I sounded like Sultan Rahi, this Punjabi hero from the 70s on, who was in all the most famous Pakistani Punjabi movies. Whenever is saw posters of him as a child, he literally looked insane to me.
I hadn’t seen any of his films but everyone knew who he was because in any trailer, he was always screaming profanities at the villain like a maniac. Who in turn was screaming them back. I had seen Maula Jat, or I should say a part of it, because a newer version was coming out with the most beautiful actor Pakistan possessed, Fawad Khan. I figured it was good to watch the original before.
It was there that I realized how crazy the Punjabi movies in those retro decades were. Even the women were violent, toting guns and cursing out everyone, even the police, even if they were already inside the jail. They were always plus-size and the personification of vulgarity. When they danced it felt like they were trying to bring on an earthquake.
Sultan Rahi was the only hero for the longest time. There was also only one villain, Mustafa Qureshi. They both looked like they were in their 50s. Both wore wigs. In fact most of the male cast wore wigs. That itself was nuts. The Punjabi film industry was like the craziest ever. People loved it so maybe it was just the “mod-squad” that was like, “Wtf?”
But the one thing the industry had that no other in the world did was Madam Nur Jahan. Hence the songs were insanely good. The lyrics, the composition, the rendition. Madam sang each track like she was the lead actress. My favourite
soundtrack is Heer Ranjha and I discovered it very late in life. Maybe when the jewel of the crown is like the Kohinoor, it doesn’t matter what the rest of it looks like.
I missed the chance to swim because the wind just kept picking up. That made me sad but I was really happy with the aloe vera applications I was doing multiple times a day. I couldn’t tell what it was doing for my skin. The only mirror was in the bathroom and I wasn’t in it for long. Plus most of the time there was no electricity so no one was gazing in the mirror anyway. Otherwise, it was making my face feel so cool and soft, I applied it every chance I got.
After I got back for the day and I bathed, I applied some again. Later I found it’s the best thing to put on after a day in the sun. When I started running out I called the driver in Karachi and told him to bring me a little. Anything to not wear the sunblock I had. The bottle alone brought on vivid memories of stinging eyes.
The swimsuit, different from anything I had ever worn in my life was working out perfectly. The top, which was usually a tankini, was a full sleeved rashguard and the bottoms, always a pair of surfboard shorts, was like a legging. I had borrowed it from a friend who wears a burka. She was surprised I wanted it. I had told her the water might be cold. That was the reason I had the rashguard too. I thought I would be warmer. I was really lucky because I would not have been able to swim at all in my tankini and shorts.
I noticed that no men took off their shirts even when they went into the water. They wore shorts that were bermudas at least. If they went in at all that is. I didn’t see one person swimming in the ocean in the five days I was there. They would wade in, hang out in the water, even sit in it and then leave.
The women only wore full clothing, western or eastern. I heard some people from Karachi wore what they would in Miami but not mostly. Generally, the consideration, people showed for the culture of where they were was remarkable and impressive.
It made me know that going forward this would be my gear for sure. Not because I didn’t expect to ever be in places where I could wear whatever I wanted but because the upsides were notable. I didn’t once put on sun block which I hate because it smells weird and is a pain to get off. I didn’t worry about the stains it made on my swimsuit when it was white. I felt less cold when I got out of the water and no part of my body got burnt. Or even dark, making outlines everywhere. Thanks to Sami I had gotten a pair of water shoes and they were amazing. Yup, the suit had changed forever.
At about 4pm I decided to go back hunting for the water pools near a reef on a beach about a 15 minute bike ride from the hotel. I figured if I missed the ocean maybe I could dunk in one of them instead. It was Sami who had told me about it and showed me pictures. Once I got there for the first half an hour I was distracted by shells again so I began perusing the sand for whatever caught my eye. It made me appreciate the notion of the pursuit of beauty.
Why one could easily travel the world if they thought something existed that had to be possessed only because it was beautiful. God forbid if someone had told me that a certain kind of shell existed in Ormara that I liked, I would have stayed 15 instead of 5 days looking for it. When I had seen Sami’s rock that had the imprint of a shell on it, absolutely perfectly like the rock had been plasticine, I had felt deep envy. I definitely wanted one of those. And, lucky me, I had found a few on day one!
It also made me realize that I was probably a nightmare to travel with once the camera emerged. I literally wanted to take a shot of the same thing every two minutes. It’s like I couldn’t get enough of it and exercised no control around it. Many of my friends used to always say, “You can take as many pictures as you want,” but they never meant it. Even the drivers who I paid so I could stop where I wanted didn’t have the patience for it after a while.
The kid on the bike was different. Amir hadn’t really seen the village where he was working so he was discovering its breathtaking beauty with me. Every day when we went out I had to tell keep his eyes on the road, or the beach, as it happened to be most time. Every few seconds he was distracted by the water or the columns, the cliffs and the dry plateaus around them.
When I asked him to stop repeatedly, he didn’t mind. I guess he wondered what I was going to take a shot of next. I knew that because sometimes he would suggest I get off the bike and take my time to do it by approaching the subject.
On one of those rides back when the sun was setting and the waves were gently lapping up to the shore, I felt a pang of envy. Karachiites were lucky to have such a spot only five hours away. Not to mention the most amazing drive through Hingol for an hour and a half of it. I had felt like that when in Islamabad in the last few years too. The mountains, all kinds of them, one more beautiful and different than the other, were only a few hours away.
In Lahore we didn’t have anything like that. There was Islamabad four hours away and as lovely as it was, it was still a city. I did have my village which was almost three hours away but there the stay was different. It was definitely picturesque and relaxing but the area in which I moved was extremely limited. Perhaps that was my fault but once I was there I didn’t really want to drive more to go anywhere else.
But Lahore has what is its jewel inside the city. It’s not one park or another, many of which are undoubtedly spectacular. It’s a shrine, one of many; Daata darbaar, the shrine of Daata Ali Hajveri (ra). Most Lahoris have never even been. That would be the same as being from Karachi and never having gone to the beach. Ever!
He is the reason we have missed being devastated by wars where enemies basically walked into the center of the city only to turn around of their own will. Where we were not destroyed because bombs fell from planes and landed on the banks of the Ravi unexploded. I learnt that from the renowned Parsi author, Bapsi Sidhwa in her short story, The Gentlemanly War.
After when I asked my Mamu about it to confirm it was true and not fiction for her writing, he told me the part about how the Indians crossed the Wagah border and reached the Parliament House on the Mall, a few miles from our home, because we had sent our entire tank platoon expecting the attack somewhere else. When not a shot was fired at them and they cruised in, the commander updated his seniors on the situation and the General in charge told him to turn around “It’s a trap,” he said.
But it wasn’t.
It was a victory over the city that is the heart of the country. Later when he was asked why he made that call, he said he didn’t know why. But we do. It was because of someone’s prayer.
When I got to the reef initially I got distracted by, you guessed it, shells again. Then I remembered, “the pool.” I saw many little ones and even sat in one which had warm water for a while before looking for the larger one. Then I came upon it and it was perfect because it was right at the edge of the reef, so it was like sitting at the edge of the ocean. The view of the cliff opposite, Hammer Head, was serene. I named it Sami’s Pool. She found it.
I was following tradition. When I was studying in the boarding school in Murree, I remember one of my mother’s cousins, my Aunt and her family, her husband and my cousins came to visit. They had packed a lunch and we drove around looking for a chashma, a spring, to sit around and eat it. We drove for what seemed to be a while but couldn’t find anything. Then I saw one that nobody else did.
I told my aunt. She made her husband turn around and lo and behold, we came upon it. “Mony ka chashma,” everyone called it. So this was “Sami’s Pool.” There were so many little pools around it that it was perfect spot to come to with a few friends. Everyone could have their own spot to dunk themselves in and just lounge around. When I got home I showered and went to sleep early. In expectation that it might be super windy again I wanted to get up early and swim.
Day Four – The Rocks
The next day for breakfast I ordered the gotaala eggs and a paratha. The eggs were good. I was hungry so I ate a lot. When I headed to the beach, I saw an old man with two little kids sitting by this boat parked permanently in front of the hotel.
“Baba,” I said addressing him, “Baluchi ho?” Are you Balochi?
He nodded. I looked over at the kids. They looked like they were five. Adorable age! I asked the old man to tell them to help me look for shells. The one who got the most beautiful one would get a prize, I told him to tell them. The little boys tailed me, picking up a shell every once in a while and asking me, “Shoki?” which means beautiful. Sometimes I said yes and other times no just to keep them interested.
When we were near the water, I placed them on a spot and gestured that we would race back. I let them have a huge head start and then signaled, “Go.” When I ran they started running too. One of them stopped half way but the other kid whizzed towards his father.
Once I thought I had left them to his safekeeping, I sprinted towards the water to swim. It was lovely. The kids had followed me thinking it was another race. They played in the water, splashing around in it and laughed. The laugh of a child when they love something is one of the most beautiful sights in the world.
After the swim I changed and decided to go sit on the beach and listen to music again. Amir had placed an umbrella on the beach and even though it didn’t create a huge shadow, it was good enough to lie on without stretching the legs. The dogs that were not present before turned up. First they fought one another and then ran away.
20 minutes into listening to my Ipod, the canines returned as a group. One of them started walking directly towards me. I was lying down. When I saw that the dog was literally coming to where I was sitting I sat up. When it kept coming closer, without breaking a stride, I was surprised. I picked up my shoe and gestured as if I would throw it at it. It always worked before. The dog was unfazed and kept coming closer.
When it reached me, I naturally went into my Maula Jat mode.
“Kuttaayyyy! Jao! Jao!” I yelled waving my hands around. Go! Go
Finally I put the shoe down and just looked at it, frozen. The dog came all the way up to my sheet and plopped just itself on the edge of it. I was so shocked I got up in a hurry and pulled the spread towards me, worried the dog was going to pee on it again. I grabbed my hat, my Ipod and headphones and stood up moving away hurriedly from the umbrella. The dog couldn’t care less what I was doing. When I looked at it I realized what was happening. It wanted shade and it was taking mine.
“Damn!” I thought as I trudged through the sand back to the hotel with all my gear. I guess the dogs owned the beach. And why not? They spent more time on it than anyone else. Taking my shade and space was a bit much. I guess I could have just sat there but then that’s not me. I would have been just staring at it like a nut and not enjoyed one second of being there.
It was my second last day and I had decided I was going to go for a walk in the cliffs on the other side to find more rocks that have the clear imprints of shells in them. It was the coolest present possible for a child. I usually took a sandwich for myself and some chips and a banana for Amir when he didn’t return to the hotel and waited for me. The medium cheddar I had brought had matured to a nice vintage from the heat and I was enjoying eating it with the milky bread.
While I waited for it to get a little cooler a the hotel I looked through my photos. I had over 300. As I went through them, finding them all amazing, I noticed I didn’t have any photos of a single person. Those who didn’t know me used to complain that there weren’t people in my photos so they didn’t like them much.
It wasn’t going to make much difference in Ormara. There were hardly any people to begin with. A person in my shot is at the periphery of it anyway. They accent the photo, like a butterfly in a garden, never appear as the central figure in it. Two countries which I have photographed extensively, Morocco and Syria, the locals never allow a shot of them. When I saw them being asked politely by foreigners if they could take a photo, there was always a firm “No.”
Baluchistan is the largest province of my country in terms of land mass, 40% but has a tiny fraction of the population. Of the 220 million in Pakistan, there are only 12 million Baluchis. My Mamu had once said if he was asked for a single suggestion for the bettering of the country’s future, he would have said, “Close the educational institutions for a year and have the college kids from each province spend that year working with and for the people of another province.” I would have loved to be in a team for such an undertaking and Baluchistan would be my choice.
It’s too bad no one thought to do it last year when COVID had all schools closed anyway for months. But then I guess people weren’t traveling around either. To that end I had noticed since I had entered the province that not one person had been donning a mask. Whether it was the staff at the hotel or the army personnel at the check posts, even the guests. Like much of Pakistan, Corona didn’t “exist” here.
Meanwhile the one time I checked Drudge through Amir’s phone, I saw that the “showdown” of forcing people to take the vaccine had begun elsewhere. A prison guard in New Mexico had been fired for declining to be jabbed and he had sued the prison. The article said that the vaccines could not be mandated since trials were still being conducted but the conversation about “vaccine passports” was intensifying.
The route the Federal Government and the UK were going to take was already hinted at. The private sector would be “encouraged” to allow either vaccinated or those tested negative for COVID-19 to enter their establishments. Since the testing route was not going to work for every weekend or all other times one wanted to see a movie or eat at a restaurant, the vaccine would ultimately end up being the only option. The most worrying issue being acknowledged globally was around inequality. Would it be exacerbated making an already terrible imbalance worse?
In Pakistan only the elite were discussing vaccines. That too only because of travel. The airlines were going to require a jab for sure. So if one didn’t mind staying put, in Pakistan the government was not going to be mandate it. They had never been able to make the public do anything.
A few years ago, for security reasons, it was decided that each person had to prove through a government-issued ID that they owned their phone sim or the number would be terminated. For months there was a huge fuss around it as people scrambled to establish their link to their numbers. Last week first in Lahore, because I thought the sim to get for Ormara was from Telenor and then in Karachi, when I found it was actually UFone, I had a sim in my hand in 10 minutes from two different drivers, one of whom I didn’t even know.
Then there was the push to widen the tax bracket. It was totally fair ask, since apparently of the 200 million plus people living in the country, the number of filers was 2 million. Of that 700,000 were only added in 2019 after the Prime Minister begged for an IMF loan which mandated the broadening of the net.
First he said the purchase of cars would not be allowed for non-filers. Then, to really turn on the pressure, he made the purchase of real estate impossible for non-filers. So what happened? No cars were bought or sold for months. The real estate market came to a screeching halt. In the game of who blinks first, in Pakistan its always the government.
I was one of the idiots who did become a filer even though I didn’t even have any taxable income. Even my accountant kept saying to me, “I highly recommend you don’t enter the system.” But then I was like, “I file taxes in the States because the Government requires it, income or no income. I should do it in my own country.”
Now I just run around in June collecting documents from banks, hating it the whole time and hoping I don’t get a notice, because if I do, then I will apparently also enter the other “system;” the corruption that rules the FBR. Meanwhile, three years on, the Government has yet to extract a single cent from over hundreds of billions that the Sharif Brothers and Zardari and others have in wealth all over the world.
Wealth, about which I had just read in Al Fath Ar Rabbani; “For the one weak in faith, it renders them arrogant, astray and decadent.”
While I sat in my room reading an excellent personal history piece in an old New Yorker, The Florida Shuffle, my bed facing the window towards the parking lot, I saw cars and their occupants coming and going. The hotel was cheap; Rs. 5,000 for a room facing a beach. With food for three meals for the day from the restaurant, it was less than $40.
That was nothing compared to going up to the mountains, where if one wanted to stay at the expensive hotels, because they were ridiculously beautiful, you could easily spend upwards of $300 a day with a car rental and food. If not more. Some people were just using tents on the beach which were only Rs. 1,500 a night. That meant anybody from Karachi could afford it, even students.
The fact that there was no internet, no electricity, no hot water turned out to be good. Environmentally speaking. When something isn’t available, it’s pretty easy for the mind to accept and adjust to it. Except maybe the internet. I think people can no longer live without it.
The more I thought about it, when something is available in abundance, the use of it is entirely unchecked. There is tremendous wastage. Whether it comes to light or water or food. I bathed over five days in water I might use in one long shower in Lahore in the winter. I used electricity for two hours at night at best.
I decided to have a cup of tea in the little balcony outside my room and stare at the water. There I had an idea. Summer was fast approaching and the ads for lawn were starting to appear everywhere in each city. Giant billboards of cloth made by dozens of designers trying to capture as much as possible of a large market.
I have a friend in Lahore who is a designer. I made a mental note to tell her to use the cliffs and water as the base to place her fabric over rather than the skin of a model. Have the biggest billboards and put a print just over the water with the cliffs looming behind it and to reverse it in another. Drape the mountains with the fabric and show the water as is. Or the sand. Or the sky. In my head it looked stunning. You wouldn’t even need the model. I laughed to myself; I had uncovered yet another way to minus people from the scene.
Day 5 – Saying Goodbye
When I rose for Fajr I stepped outside after the prayer to see the dawn. I wondered if I should stay awake till the sunrise which was still about half an hour away. Why not, I thought? I could always nap in the afternoon. I put on a jacket and stepped out onto the beach. It was a different kind of serene at that time of the day. I had been on the beach all by myself many times over the last few days but there had been dogs and birds. Now there was no one.
I took my Ipod and listened to Surah Yaseen and started walking, waiting for the sun to appear. When it did, it was difficult to tell apart in appearance from when it sets. Although when it sets it’s at its peak and when it rises, it’s as if new. It was Friday so lots of people were expected but not till after noon. I decided to have breakfast and head for a swim. The water was calm again like a pool. On top of that it was inviting only me.
After the swim I called Amir to clean the porch that I had made messy with sand and water. He was wearing a hat. It was the first time I had seen him in one, despite the intense sun, in which he had been driving me around and as soon as I saw him it clicked.
For a few days now I had been thinking his face was looking familiar to me. But then I thought, everyone looks like someone. When I saw him in the hat I knew who it was.
The indian actor in Ram Leela. For the life of me I couldn’t remember his name so I took his phone and googled it.
Ranveer Singh! Super famous and married to Deepika!
It spent a couple of minutes trying to find a normal shot of him where he wasn’t in extreme pose but then just gave up. l turned the screen towards him and said,, ““You look this guy. Right?”
He peered at the screen and then burst into a smile.
“Lagte ho ke nahin, khud batao.” Do you or don’t you. You decide!
He kept smiling. “Ji.”
I told him the guy was huge star in India. He didn’t have a clue who he was. It was beyond refreshing. No one in any big city in Pakistan doesn’t not know him. Especially after he had been playing the lead in the last few of Sanjay Leela Bhansali’s movies. I didn’t watch many Indian films but Bhansali was as stylistic a director as they came.
I didn’t like the last movie much because I felt he had the same scenes as some of his other ones, pretty exactly, which was strangely unoriginal but hen I realized I do exactly that in my writings. I repeat the same verse or insert the same hadith, sometimes even an incident from my personal life in several of my pieces. I wished he would make a biopic instead of the epic stories. I think he would like it. He’s very sensitive.
The day was going to be slow. Since the driver was arriving later, I wasn’t going on a bike anywhere. I would just take the keys and go by myself to one spot that I wanted to photograph again. The car meant I could take tea, something to snack on, sit on and chill out, when the sun was going down. Till then I thought I would read something else from the New Yorker.
I found a fascinating piece on Amazon, The Unstoppable Machine. It was riveting from the beginning. In 2017, Gates asks for a meeting with Bezos. He suggests Tuesday or Wednesday. Bezos’ assistant calls and tell him both days are open. Bezos turns around and says, “Make it Thursday.” Let the power plays begin!
After I carefully went through my colossal shell collection and chose the ones I would take to Karachi. It was then that I also happened to look into a window which had a reflective coating on it that made it a mirror. I was taken aback at how dark my face was. I kept coming closer and closer to it, tilting my face in all directions, then pushing my t-shirt below my neck to confirm if I was really that dark. Not burned, just a super dark shade of brown.
“Damn!” was my first thought. Karachi was fine but Lahore?
The elders in my family alone would be like, “What happened?”
“Oh well,” I thought. I still had one more swim day before me and it was in the morning so another shade yet was possible. The cool thing was I couldn’t see the dark circles around my eyes at all. That happens anyway when I travel. The “raccoon” eyes that I have in Lahore change and become hardly noticeable but this was different. The area was not only clear, it was super smooth.
“Maybe your whole face has become a dark circle,” my brain conjectured.
I laughed and reminded myself I had one more swim day left before heading to Karachi. I spent the afternoon writing. A large group of what looked like police cadets had arrived. There were 16 single tents on the beach. Meanwhile the driver called and told me he would be arriving by 6pm. That was perfect in terms of me driving the car somewhere to catch the sunset.
By the time I reached the sun was already over the cliff so I just walked around the beach and collected yet another kind of shell. I listened to a lecture by Sheikh Nurjan, which I was not expecting to do. It was about surrender. I didn’t get far. It was very intense and it made me cry a lot; The Immense Power of Nothingness.
“The real power is to be nothing. When you are nothing and you are reading the Quran, you have to know that Allah is not talking to you. Because you are nothing. You have to annihilate yourself. In your nothingness you will enter the ocean of Everything.”
That was the preface. Then he began the talk:
“And always it is a reminder for myself, this reality and this path is like a fine thread and has to be described by the Ahl il Baseera, the ones granted His Vision, for they taught the reality, they saw the reality and Allah burned its haqaiq, truths, into their soul. And each reality has its darajaat, ranks and an infinite journey towards the Lord of Power.
There are two doors to this reality. One is in your approach to the Divine, in which you think of yourself as something and you want to know about your something-ness. You begin to read religious texts and it seems like a dialogue between you and your Lord. And you pursue that way of thinking and you drift, some slow, some fast, each farther and farther and farther away from the haqaiq, the truths.
So the Auliya Allah, the Friends of God, came, by all their struggles, to guide people through a different door. They say the secret of reaching reality is to negate yourself at this door.”
Then he spoke the verse of the Prophet Yunus (as), Jonah, from tbe belly of the whale where he was in darkness for 40 days;
أَن لَّا إِلَٰهَ إِلَّا أَنتَ سُبْحَانَكَ إِنِّي كُنتُ مِنَ الظَّالِمِين
There is no god except You, Glory be to You! Indeed, I have been of the wrongdoers.
“He says, ‘Glory be to Allah for I am an oppressor to myself.’ So write on your paper that I’m coming through the door of an oppressor. I myself have caused all the problems. And the dua, the supplication, of the oppressor is not accepted. So you don’t have to worry about making duas. That is why you should read the dua of the Sultan e Auliya. Never a word about themselves, or their importance or of why this and why that.
Their wording is astonishing.
Ya Rabbi, I’m coming through the door of kufr (being ungrateful, denying the Truth). If I have a choice between belief and disbelief, I choose to come through the door of disbelief. Who am I to say what I believed was correct, what I did was correct. I’m coming negating myself that I don’t think I did anything right. I’m an oppressor to myself. I know my bad characteristics. Deflate yourself before Allah deflates you.
The one who went through the other door is inflating themselves. Continuously thinking about their importance, their relationship with Allah. They end up in an orbit outside the circle, inside which is Muhammad Ar Rasool Allah (saw) and Allah.
Then the tareeqa, path of spirituality, comes and teaches you, ‘Accept yourself to be nothing, coming through the door of nothingness. In your nothingness you enter into the ocean of everything. The one who came into the ocean, into the ocean of Muhammad Ar Rasool Allah (saw), then all the teachings begin to make sense. Otherwise it will always remain confusing to you.’”
It started getting dark so I drove back to the hotel. I checked my email once now that I was going to re-enter the world and saw the traces of madness waiting for me on the other side. Dysfunction I was able to escape for a few days. But how could I complain? The truth is that I had come to Ormara to cry. To grieve. To mourn the loss of my father that I felt like I was unable to do in Lahore.
The only time I did end up crying here it was for my relationships with the living. That I wanted to love and love me back but it didn’t look like it was happening anytime soon. Although funnily enough, they too wanted the same thing. To love and be loved! Even while wanting the same thing we were not able to come closer to it. I still don’t know why.
There was always hope. Perhaps in the waiting and wanting, at least our intention was clear as day. And the reward of that intention as outlined by God’s Beloved (peace be upon him) himself was deliverance any way you looked at it.
“The Momin is the one who loves and is loved. And there is no goodness for the one who does not give love and receive love. The best amongst people is the one who gives others benefit.”
It made every single person in the Universe, in one sense, a Mo’min, the one who has Imaan in the heart. Knowingly or unknowlingly!
The Departure – The Last Swim
The large group that arrived the night before blared music till late. I turned the fan on and passed out. It drowned out any noise anyway because the regulator wasn’t working and it sounded like a helicopter.
In the morning after Fajr, I lay in bed wondering if I should step outside again when music started blaring again. That was a shock! It was one thing to “party” but early morning, what the hell? The lack of regard towards the other hotel guests was brazen. Later I heard it was apparently the “alarm” for the group. Like a 7am wake up call!
It was the first cloudy day I had seen in Ormara. There were many people on the beach already. I wondered if I should swim or not thinking the water would be cold if the sun wasn’t even out. I decided to walk to the water in my regular clothes. When the water lapped against my feet, it was warm and welcoming. It wasn’t even 8am. I hurried back and changed into my suit, wore my water shoes and came back.
Like the first day the water was super still. I walked in and kept walking till it was at my shoulders. When I turned around I couldn’t even find my bag that I had placed near the water so I had a towel to wrap myself in before heading to the room. When I lay back to float, my eyes turned towards the sky and I saw the moon. “Hi Moonie,” I said, my usual greeting for it.
A few days ago when the waves were slightly rougher, I had begun reciting my favourite surahs of the Quran in tajweed, the rules of recitation, to make them still. Like it would have been magic. They had only slapped my face more. Today when I recited the surahs, it felt like the water listened. And the moon listened and even my heart listened to my tongue, as if separate from it.
After having my last gotalaa with the driver and finishing off the milky bread, I got the Frisbee I had brought and looked for Amir. It was a perfectly still day, wind of zero km. I found him cleaning a room.
“Amir, come!” I beckoned him and started walking away. “And bring that other guy who cleans the rooms as well.”
He looked hesitant. And busy.
“Come,” I insisted, “I’m leaving. This will take a minute.”
He walked behind me as I went to a spot on the side of the hotel where it was flat and there were no people. I told both of them what I knew how to throw it. Use the wrist and the upper arm. Let go of the disc when the arm is stretched straight.
Amir was a natural. His throws were better than mine. Abbas was just as good. We threw it around a few times in a circle. Then they looked like they wanted to go back to the cleaning.
“Chalo,” I said parting ways, “Khelna zaroor.” Don’t forget to play.
After I made sure I had everything in my room, a thought occurred to me. I should go on the beach one more time and say thank you. I got the idea from my friend Zee. Whenever she sees something beautiful in nature and her heart leaps because of it, she immediately goes into sajda and prostrates in gratitude to God. I’ve seen her do it my whole life and always laughed like it was the first time. I didn’t wear the water shoes I had worn the whole time I had been in Ormara. I walked barefoot in the sand.
It was soft and cool. I walked near the edge of the water and kneeled. The sand touched my forehead and I said a prayer. Any break from routine in a surrounding of nature is a “refresh” button for the soul and the heart, the mind, one’s entire being. Clarity is always gained in some way even when one is not alone. I like that the most about being away from everything. Sometimes that clarity, that one feels is so uniquely theirs, benefits another. Then purpose is truly fulfilled.
When we used to stay at the naval base, it was always for three nights. On the last afternoon, we would always head up to the top of Hammer Head to have a tea and watch the sunset from the towering height. It was always a lovely change, a unique perspective. On the way there it would be light still so we would sometimes stop to take photos.
The navy likes to write on rocks. Mostly they write the names of God. But my favourite was always this one line on this one rock painted blue. It made me feel welcome having been there and welcome to return. It would become the thought on my mind whenever I left this piece of heaven, the only time I entered Baluchistan and interacted with Baluchis, who like their mountains of earth were soft and humble. And the line made my heart, which constantly has to stop itself from giving up on people, feel happy and hopeful, yearning, in regards to both Ormara and the ones I love in my life;
Phir kab aao gey?
When will you come back again?
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Symptoms of COVID-19 are variable, but often include fever, cough, fatigue, breathing difficulties, and loss of smell and taste. Symptoms begin one to fourteen days after exposure to the virus. Of those people who develop noticeable symptoms, most (81%) develop mild to moderate symptoms (up to mild pneumonia), while 14% develop severe symptoms (dyspnea, hypoxia, or more than 50% lung involvement on imaging), and 5% suffer critical symptoms (respiratory failure, shock, or multiorgan dysfunction). Older people are more likely to have severe symptoms. At least a third of the people who are infected with the virus remain asymptomatic and do not develop noticeable symptoms at any point in time, but they still can spread the disease.[ Around 20% of those people will remain asymptomatic throughout infection, and the rest will develop symptoms later on, becoming pre-symptomatic rather than asymptomatic and therefore having a higher risk of transmitting the virus to others. Some people continue to experience a range of effects—known as long COVID—for months after recovery, and damage to organs has been observed. Multi-year studies are underway to further investigate the long-term effects of the disease.
The virus that causes COVID-19 spreads mainly when an infected person is in close contact[a] with another person. Small droplets and aerosols containing the virus can spread from an infected person's nose and mouth as they breathe, cough, sneeze, sing, or speak. Other people are infected if the virus gets into their mouth, nose or eyes. The virus may also spread via contaminated surfaces, although this is not thought to be the main route of transmission. The exact route of transmission is rarely proven conclusively, but infection mainly happens when people are near each other for long enough. People who are infected can transmit the virus to another person up to two days before they themselves show symptoms, as can people who do not experience symptoms. People remain infectious for up to ten days after the onset of symptoms in moderate cases and up to 20 days in severe cases. Several testing methods have been developed to diagnose the disease. The standard diagnostic method is by detection of the virus' nucleic acid by real-time reverse transcription polymerase chain reaction (rRT-PCR), transcription-mediated amplification (TMA), or by reverse transcription loop-mediated isothermal amplification (RT-LAMP) from a nasopharyngeal swab.
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SIGNS AND SYSTOMS
Symptoms of COVID-19 are variable, ranging from mild symptoms to severe illness. Common symptoms include headache, loss of smell and taste, nasal congestion and rhinorrhea, cough, muscle pain, sore throat, fever, diarrhea, and breathing difficulties. People with the same infection may have different symptoms, and their symptoms may change over time. Three common clusters of symptoms have been identified: one respiratory symptom cluster with cough, sputum, shortness of breath, and fever; a musculoskeletal symptom cluster with muscle and joint pain, headache, and fatigue; a cluster of digestive symptoms with abdominal pain, vomiting, and diarrhea. In people without prior ear, nose, and throat disorders, loss of taste combined with loss of smell is associated with COVID-19.
Most people (81%) develop mild to moderate symptoms (up to mild pneumonia), while 14% develop severe symptoms (dyspnea, hypoxia, or more than 50% lung involvement on imaging) and 5% of patients suffer critical symptoms (respiratory failure, shock, or multiorgan dysfunction). At least a third of the people who are infected with the virus do not develop noticeable symptoms at any point in time. These asymptomatic carriers tend not to get tested and can spread the disease. Other infected people will develop symptoms later, called "pre-symptomatic", or have very mild symptoms and can also spread the virus.
As is common with infections, there is a delay between the moment a person first becomes infected and the appearance of the first symptoms. The median delay for COVID-19 is four to five days. Most symptomatic people experience symptoms within two to seven days after exposure, and almost all will experience at least one symptom within 12 days.
Most people recover from the acute phase of the disease. However, some people continue to experience a range of effects for months after recovery—named long COVID—and damage to organs has been observed. Multi-year studies are underway to further investigate the long-term effects of the disease.
CAUSE
TRANSMISSION
Coronavirus disease 2019 (COVID-19) spreads from person to person mainly through the respiratory route after an infected person coughs, sneezes, sings, talks or breathes. A new infection occurs when virus-containing particles exhaled by an infected person, either respiratory droplets or aerosols, get into the mouth, nose, or eyes of other people who are in close contact with the infected person. During human-to-human transmission, an average 1000 infectious SARS-CoV-2 virions are thought to initiate a new infection.
The closer people interact, and the longer they interact, the more likely they are to transmit COVID-19. Closer distances can involve larger droplets (which fall to the ground) and aerosols, whereas longer distances only involve aerosols. Larger droplets can also turn into aerosols (known as droplet nuclei) through evaporation. The relative importance of the larger droplets and the aerosols is not clear as of November 2020; however, the virus is not known to spread between rooms over long distances such as through air ducts. Airborne transmission is able to particularly occur indoors, in high risk locations such as restaurants, choirs, gyms, nightclubs, offices, and religious venues, often when they are crowded or less ventilated. It also occurs in healthcare settings, often when aerosol-generating medical procedures are performed on COVID-19 patients.
Although it is considered possible there is no direct evidence of the virus being transmitted by skin to skin contact. A person could get COVID-19 indirectly by touching a contaminated surface or object before touching their own mouth, nose, or eyes, though this is not thought to be the main way the virus spreads. The virus is not known to spread through feces, urine, breast milk, food, wastewater, drinking water, or via animal disease vectors (although some animals can contract the virus from humans). It very rarely transmits from mother to baby during pregnancy.
Social distancing and the wearing of cloth face masks, surgical masks, respirators, or other face coverings are controls for droplet transmission. Transmission may be decreased indoors with well maintained heating and ventilation systems to maintain good air circulation and increase the use of outdoor air.
The number of people generally infected by one infected person varies. Coronavirus disease 2019 is more infectious than influenza, but less so than measles. It often spreads in clusters, where infections can be traced back to an index case or geographical location. There is a major role of "super-spreading events", where many people are infected by one person.
A person who is infected can transmit the virus to others up to two days before they themselves show symptoms, and even if symptoms never appear. People remain infectious in moderate cases for 7–12 days, and up to two weeks in severe cases. In October 2020, medical scientists reported evidence of reinfection in one person.
VIROLOGY
Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) is a novel severe acute respiratory syndrome coronavirus. It was first isolated from three people with pneumonia connected to the cluster of acute respiratory illness cases in Wuhan. All structural features of the novel SARS-CoV-2 virus particle occur in related coronaviruses in nature.
Outside the human body, the virus is destroyed by household soap, which bursts its protective bubble.
SARS-CoV-2 is closely related to the original SARS-CoV. It is thought to have an animal (zoonotic) origin. Genetic analysis has revealed that the coronavirus genetically clusters with the genus Betacoronavirus, in subgenus Sarbecovirus (lineage B) together with two bat-derived strains. It is 96% identical at the whole genome level to other bat coronavirus samples (BatCov RaTG13). The structural proteins of SARS-CoV-2 include membrane glycoprotein (M), envelope protein (E), nucleocapsid protein (N), and the spike protein (S). The M protein of SARS-CoV-2 is about 98% similar to the M protein of bat SARS-CoV, maintains around 98% homology with pangolin SARS-CoV, and has 90% homology with the M protein of SARS-CoV; whereas, the similarity is only around 38% with the M protein of MERS-CoV. The structure of the M protein resembles the sugar transporter SemiSWEET.
The many thousands of SARS-CoV-2 variants are grouped into clades. Several different clade nomenclatures have been proposed. Nextstrain divides the variants into five clades (19A, 19B, 20A, 20B, and 20C), while GISAID divides them into seven (L, O, V, S, G, GH, and GR).
Several notable variants of SARS-CoV-2 emerged in late 2020. Cluster 5 emerged among minks and mink farmers in Denmark. After strict quarantines and a mink euthanasia campaign, it is believed to have been eradicated. The Variant of Concern 202012/01 (VOC 202012/01) is believed to have emerged in the United Kingdom in September. The 501Y.V2 Variant, which has the same N501Y mutation, arose independently in South Africa.
SARS-CoV-2 VARIANTS
Three known variants of SARS-CoV-2 are currently spreading among global populations as of January 2021 including the UK Variant (referred to as B.1.1.7) first found in London and Kent, a variant discovered in South Africa (referred to as 1.351), and a variant discovered in Brazil (referred to as P.1).
Using Whole Genome Sequencing, epidemiology and modelling suggest the new UK variant ‘VUI – 202012/01’ (the first Variant Under Investigation in December 2020) transmits more easily than other strains.
PATHOPHYSIOLOGY
COVID-19 can affect the upper respiratory tract (sinuses, nose, and throat) and the lower respiratory tract (windpipe and lungs). The lungs are the organs most affected by COVID-19 because the virus accesses host cells via the enzyme angiotensin-converting enzyme 2 (ACE2), which is most abundant in type II alveolar cells of the lungs. The virus uses a special surface glycoprotein called a "spike" (peplomer) to connect to ACE2 and enter the host cell. The density of ACE2 in each tissue correlates with the severity of the disease in that tissue and decreasing ACE2 activity might be protective, though another view is that increasing ACE2 using angiotensin II receptor blocker medications could be protective. As the alveolar disease progresses, respiratory failure might develop and death may follow.
Whether SARS-CoV-2 is able to invade the nervous system remains unknown. The virus is not detected in the CNS of the majority of COVID-19 people with neurological issues. However, SARS-CoV-2 has been detected at low levels in the brains of those who have died from COVID-19, but these results need to be confirmed. SARS-CoV-2 could cause respiratory failure through affecting the brain stem as other coronaviruses have been found to invade the CNS. While virus has been detected in cerebrospinal fluid of autopsies, the exact mechanism by which it invades the CNS remains unclear and may first involve invasion of peripheral nerves given the low levels of ACE2 in the brain. The virus may also enter the bloodstream from the lungs and cross the blood-brain barrier to gain access to the CNS, possibly within an infected white blood cell.
The virus also affects gastrointestinal organs as ACE2 is abundantly expressed in the glandular cells of gastric, duodenal and rectal epithelium as well as endothelial cells and enterocytes of the small intestine.
The virus can cause acute myocardial injury and chronic damage to the cardiovascular system. An acute cardiac injury was found in 12% of infected people admitted to the hospital in Wuhan, China, and is more frequent in severe disease. Rates of cardiovascular symptoms are high, owing to the systemic inflammatory response and immune system disorders during disease progression, but acute myocardial injuries may also be related to ACE2 receptors in the heart. ACE2 receptors are highly expressed in the heart and are involved in heart function. A high incidence of thrombosis and venous thromboembolism have been found people transferred to Intensive care unit (ICU) with COVID-19 infections, and may be related to poor prognosis. Blood vessel dysfunction and clot formation (as suggested by high D-dimer levels caused by blood clots) are thought to play a significant role in mortality, incidences of clots leading to pulmonary embolisms, and ischaemic events within the brain have been noted as complications leading to death in people infected with SARS-CoV-2. Infection appears to set off a chain of vasoconstrictive responses within the body, constriction of blood vessels within the pulmonary circulation has also been posited as a mechanism in which oxygenation decreases alongside the presentation of viral pneumonia. Furthermore, microvascular blood vessel damage has been reported in a small number of tissue samples of the brains – without detected SARS-CoV-2 – and the olfactory bulbs from those who have died from COVID-19.
Another common cause of death is complications related to the kidneys. Early reports show that up to 30% of hospitalized patients both in China and in New York have experienced some injury to their kidneys, including some persons with no previous kidney problems.
Autopsies of people who died of COVID-19 have found diffuse alveolar damage, and lymphocyte-containing inflammatory infiltrates within the lung.
IMMUNOPATHOLOGY
Although SARS-CoV-2 has a tropism for ACE2-expressing epithelial cells of the respiratory tract, people with severe COVID-19 have symptoms of systemic hyperinflammation. Clinical laboratory findings of elevated IL-2, IL-7, IL-6, granulocyte-macrophage colony-stimulating factor (GM-CSF), interferon-γ inducible protein 10 (IP-10), monocyte chemoattractant protein 1 (MCP-1), macrophage inflammatory protein 1-α (MIP-1α), and tumour necrosis factor-α (TNF-α) indicative of cytokine release syndrome (CRS) suggest an underlying immunopathology.
Additionally, people with COVID-19 and acute respiratory distress syndrome (ARDS) have classical serum biomarkers of CRS, including elevated C-reactive protein (CRP), lactate dehydrogenase (LDH), D-dimer, and ferritin.
Systemic inflammation results in vasodilation, allowing inflammatory lymphocytic and monocytic infiltration of the lung and the heart. In particular, pathogenic GM-CSF-secreting T-cells were shown to correlate with the recruitment of inflammatory IL-6-secreting monocytes and severe lung pathology in people with COVID-19 . Lymphocytic infiltrates have also been reported at autopsy.
VIRAL AND HOST FACTORS
VIRUS PROTEINS
Multiple viral and host factors affect the pathogenesis of the virus. The S-protein, otherwise known as the spike protein, is the viral component that attaches to the host receptor via the ACE2 receptors. It includes two subunits: S1 and S2. S1 determines the virus host range and cellular tropism via the receptor binding domain. S2 mediates the membrane fusion of the virus to its potential cell host via the H1 and HR2, which are heptad repeat regions. Studies have shown that S1 domain induced IgG and IgA antibody levels at a much higher capacity. It is the focus spike proteins expression that are involved in many effective COVID-19 vaccines.
The M protein is the viral protein responsible for the transmembrane transport of nutrients. It is the cause of the bud release and the formation of the viral envelope. The N and E protein are accessory proteins that interfere with the host's immune response.
HOST FACTORS
Human angiotensin converting enzyme 2 (hACE2) is the host factor that SARS-COV2 virus targets causing COVID-19. Theoretically the usage of angiotensin receptor blockers (ARB) and ACE inhibitors upregulating ACE2 expression might increase morbidity with COVID-19, though animal data suggest some potential protective effect of ARB. However no clinical studies have proven susceptibility or outcomes. Until further data is available, guidelines and recommendations for hypertensive patients remain.
The virus' effect on ACE2 cell surfaces leads to leukocytic infiltration, increased blood vessel permeability, alveolar wall permeability, as well as decreased secretion of lung surfactants. These effects cause the majority of the respiratory symptoms. However, the aggravation of local inflammation causes a cytokine storm eventually leading to a systemic inflammatory response syndrome.
HOST CYTOKINE RESPONSE
The severity of the inflammation can be attributed to the severity of what is known as the cytokine storm. Levels of interleukin 1B, interferon-gamma, interferon-inducible protein 10, and monocyte chemoattractant protein 1 were all associated with COVID-19 disease severity. Treatment has been proposed to combat the cytokine storm as it remains to be one of the leading causes of morbidity and mortality in COVID-19 disease.
A cytokine storm is due to an acute hyperinflammatory response that is responsible for clinical illness in an array of diseases but in COVID-19, it is related to worse prognosis and increased fatality. The storm causes the acute respiratory distress syndrome, blood clotting events such as strokes, myocardial infarction, encephalitis, acute kidney injury, and vasculitis. The production of IL-1, IL-2, IL-6, TNF-alpha, and interferon-gamma, all crucial components of normal immune responses, inadvertently become the causes of a cytokine storm. The cells of the central nervous system, the microglia, neurons, and astrocytes, are also be involved in the release of pro-inflammatory cytokines affecting the nervous system, and effects of cytokine storms toward the CNS are not uncommon.
DIAGNOSIS
COVID-19 can provisionally be diagnosed on the basis of symptoms and confirmed using reverse transcription polymerase chain reaction (RT-PCR) or other nucleic acid testing of infected secretions. Along with laboratory testing, chest CT scans may be helpful to diagnose COVID-19 in individuals with a high clinical suspicion of infection. Detection of a past infection is possible with serological tests, which detect antibodies produced by the body in response to the infection.
VIRAL TESTING
The standard methods of testing for presence of SARS-CoV-2 are nucleic acid tests, which detects the presence of viral RNA fragments. As these tests detect RNA but not infectious virus, its "ability to determine duration of infectivity of patients is limited." The test is typically done on respiratory samples obtained by a nasopharyngeal swab; however, a nasal swab or sputum sample may also be used. Results are generally available within hours. The WHO has published several testing protocols for the disease.
A number of laboratories and companies have developed serological tests, which detect antibodies produced by the body in response to infection. Several have been evaluated by Public Health England and approved for use in the UK.
The University of Oxford's CEBM has pointed to mounting evidence that "a good proportion of 'new' mild cases and people re-testing positives after quarantine or discharge from hospital are not infectious, but are simply clearing harmless virus particles which their immune system has efficiently dealt with" and have called for "an international effort to standardize and periodically calibrate testing" On 7 September, the UK government issued "guidance for procedures to be implemented in laboratories to provide assurance of positive SARS-CoV-2 RNA results during periods of low prevalence, when there is a reduction in the predictive value of positive test results."
IMAGING
Chest CT scans may be helpful to diagnose COVID-19 in individuals with a high clinical suspicion of infection but are not recommended for routine screening. Bilateral multilobar ground-glass opacities with a peripheral, asymmetric, and posterior distribution are common in early infection. Subpleural dominance, crazy paving (lobular septal thickening with variable alveolar filling), and consolidation may appear as the disease progresses. Characteristic imaging features on chest radiographs and computed tomography (CT) of people who are symptomatic include asymmetric peripheral ground-glass opacities without pleural effusions.
Many groups have created COVID-19 datasets that include imagery such as the Italian Radiological Society which has compiled an international online database of imaging findings for confirmed cases. Due to overlap with other infections such as adenovirus, imaging without confirmation by rRT-PCR is of limited specificity in identifying COVID-19. A large study in China compared chest CT results to PCR and demonstrated that though imaging is less specific for the infection, it is faster and more sensitive.
Coding
In late 2019, the WHO assigned emergency ICD-10 disease codes U07.1 for deaths from lab-confirmed SARS-CoV-2 infection and U07.2 for deaths from clinically or epidemiologically diagnosed COVID-19 without lab-confirmed SARS-CoV-2 infection.
PATHOLOGY
The main pathological findings at autopsy are:
Macroscopy: pericarditis, lung consolidation and pulmonary oedema
Lung findings:
minor serous exudation, minor fibrin exudation
pulmonary oedema, pneumocyte hyperplasia, large atypical pneumocytes, interstitial inflammation with lymphocytic infiltration and multinucleated giant cell formation
diffuse alveolar damage (DAD) with diffuse alveolar exudates. DAD is the cause of acute respiratory distress syndrome (ARDS) and severe hypoxemia.
organisation of exudates in alveolar cavities and pulmonary interstitial fibrosis
plasmocytosis in BAL
Blood: disseminated intravascular coagulation (DIC); leukoerythroblastic reaction
Liver: microvesicular steatosis
PREVENTION
Preventive measures to reduce the chances of infection include staying at home, wearing a mask in public, avoiding crowded places, keeping distance from others, ventilating indoor spaces, washing hands with soap and water often and for at least 20 seconds, practising good respiratory hygiene, and avoiding touching the eyes, nose, or mouth with unwashed hands.
Those diagnosed with COVID-19 or who believe they may be infected are advised by the CDC to stay home except to get medical care, call ahead before visiting a healthcare provider, wear a face mask before entering the healthcare provider's office and when in any room or vehicle with another person, cover coughs and sneezes with a tissue, regularly wash hands with soap and water and avoid sharing personal household items.
The first COVID-19 vaccine was granted regulatory approval on 2 December by the UK medicines regulator MHRA. It was evaluated for emergency use authorization (EUA) status by the US FDA, and in several other countries. Initially, the US National Institutes of Health guidelines do not recommend any medication for prevention of COVID-19, before or after exposure to the SARS-CoV-2 virus, outside the setting of a clinical trial. Without a vaccine, other prophylactic measures, or effective treatments, a key part of managing COVID-19 is trying to decrease and delay the epidemic peak, known as "flattening the curve". This is done by slowing the infection rate to decrease the risk of health services being overwhelmed, allowing for better treatment of current cases, and delaying additional cases until effective treatments or a vaccine become available.
VACCINE
A COVID‑19 vaccine is a vaccine intended to provide acquired immunity against severe acute respiratory syndrome coronavirus 2 (SARS‑CoV‑2), the virus causing coronavirus disease 2019 (COVID‑19). Prior to the COVID‑19 pandemic, there was an established body of knowledge about the structure and function of coronaviruses causing diseases like severe acute respiratory syndrome (SARS) and Middle East respiratory syndrome (MERS), which enabled accelerated development of various vaccine technologies during early 2020. On 10 January 2020, the SARS-CoV-2 genetic sequence data was shared through GISAID, and by 19 March, the global pharmaceutical industry announced a major commitment to address COVID-19.
In Phase III trials, several COVID‑19 vaccines have demonstrated efficacy as high as 95% in preventing symptomatic COVID‑19 infections. As of March 2021, 12 vaccines were authorized by at least one national regulatory authority for public use: two RNA vaccines (the Pfizer–BioNTech vaccine and the Moderna vaccine), four conventional inactivated vaccines (BBIBP-CorV, CoronaVac, Covaxin, and CoviVac), four viral vector vaccines (Sputnik V, the Oxford–AstraZeneca vaccine, Convidicea, and the Johnson & Johnson vaccine), and two protein subunit vaccines (EpiVacCorona and RBD-Dimer). In total, as of March 2021, 308 vaccine candidates were in various stages of development, with 73 in clinical research, including 24 in Phase I trials, 33 in Phase I–II trials, and 16 in Phase III development.
Many countries have implemented phased distribution plans that prioritize those at highest risk of complications, such as the elderly, and those at high risk of exposure and transmission, such as healthcare workers. As of 17 March 2021, 400.22 million doses of COVID‑19 vaccine have been administered worldwide based on official reports from national health agencies. AstraZeneca-Oxford anticipates producing 3 billion doses in 2021, Pfizer-BioNTech 1.3 billion doses, and Sputnik V, Sinopharm, Sinovac, and Johnson & Johnson 1 billion doses each. Moderna targets producing 600 million doses and Convidicea 500 million doses in 2021. By December 2020, more than 10 billion vaccine doses had been preordered by countries, with about half of the doses purchased by high-income countries comprising 14% of the world's population.
SOCIAL DISTANCING
Social distancing (also known as physical distancing) includes infection control actions intended to slow the spread of the disease by minimising close contact between individuals. Methods include quarantines; travel restrictions; and the closing of schools, workplaces, stadiums, theatres, or shopping centres. Individuals may apply social distancing methods by staying at home, limiting travel, avoiding crowded areas, using no-contact greetings, and physically distancing themselves from others. Many governments are now mandating or recommending social distancing in regions affected by the outbreak.
Outbreaks have occurred in prisons due to crowding and an inability to enforce adequate social distancing. In the United States, the prisoner population is aging and many of them are at high risk for poor outcomes from COVID-19 due to high rates of coexisting heart and lung disease, and poor access to high-quality healthcare.
SELF-ISOLATION
Self-isolation at home has been recommended for those diagnosed with COVID-19 and those who suspect they have been infected. Health agencies have issued detailed instructions for proper self-isolation. Many governments have mandated or recommended self-quarantine for entire populations. The strongest self-quarantine instructions have been issued to those in high-risk groups. Those who may have been exposed to someone with COVID-19 and those who have recently travelled to a country or region with the widespread transmission have been advised to self-quarantine for 14 days from the time of last possible exposure.
Face masks and respiratory hygiene
The WHO and the US CDC recommend individuals wear non-medical face coverings in public settings where there is an increased risk of transmission and where social distancing measures are difficult to maintain. This recommendation is meant to reduce the spread of the disease by asymptomatic and pre-symptomatic individuals and is complementary to established preventive measures such as social distancing. Face coverings limit the volume and travel distance of expiratory droplets dispersed when talking, breathing, and coughing. A face covering without vents or holes will also filter out particles containing the virus from inhaled and exhaled air, reducing the chances of infection. But, if the mask include an exhalation valve, a wearer that is infected (maybe without having noticed that, and asymptomatic) would transmit the virus outwards through it, despite any certification they can have. So the masks with exhalation valve are not for the infected wearers, and are not reliable to stop the pandemic in a large scale. Many countries and local jurisdictions encourage or mandate the use of face masks or cloth face coverings by members of the public to limit the spread of the virus.
Masks are also strongly recommended for those who may have been infected and those taking care of someone who may have the disease. When not wearing a mask, the CDC recommends covering the mouth and nose with a tissue when coughing or sneezing and recommends using the inside of the elbow if no tissue is available. Proper hand hygiene after any cough or sneeze is encouraged. Healthcare professionals interacting directly with people who have COVID-19 are advised to use respirators at least as protective as NIOSH-certified N95 or equivalent, in addition to other personal protective equipment.
HAND-WASHING AND HYGIENE
Thorough hand hygiene after any cough or sneeze is required. The WHO also recommends that individuals wash hands often with soap and water for at least 20 seconds, especially after going to the toilet or when hands are visibly dirty, before eating and after blowing one's nose. The CDC recommends using an alcohol-based hand sanitiser with at least 60% alcohol, but only when soap and water are not readily available. For areas where commercial hand sanitisers are not readily available, the WHO provides two formulations for local production. In these formulations, the antimicrobial activity arises from ethanol or isopropanol. Hydrogen peroxide is used to help eliminate bacterial spores in the alcohol; it is "not an active substance for hand antisepsis". Glycerol is added as a humectant.
SURFACE CLEANING
After being expelled from the body, coronaviruses can survive on surfaces for hours to days. If a person touches the dirty surface, they may deposit the virus at the eyes, nose, or mouth where it can enter the body cause infection. Current evidence indicates that contact with infected surfaces is not the main driver of Covid-19, leading to recommendations for optimised disinfection procedures to avoid issues such as the increase of antimicrobial resistance through the use of inappropriate cleaning products and processes. Deep cleaning and other surface sanitation has been criticized as hygiene theater, giving a false sense of security against something primarily spread through the air.
The amount of time that the virus can survive depends significantly on the type of surface, the temperature, and the humidity. Coronaviruses die very quickly when exposed to the UV light in sunlight. Like other enveloped viruses, SARS-CoV-2 survives longest when the temperature is at room temperature or lower, and when the relative humidity is low (<50%).
On many surfaces, including as glass, some types of plastic, stainless steel, and skin, the virus can remain infective for several days indoors at room temperature, or even about a week under ideal conditions. On some surfaces, including cotton fabric and copper, the virus usually dies after a few hours. As a general rule of thumb, the virus dies faster on porous surfaces than on non-porous surfaces.
However, this rule is not absolute, and of the many surfaces tested, two with the longest survival times are N95 respirator masks and surgical masks, both of which are considered porous surfaces.
Surfaces may be decontaminated with 62–71 percent ethanol, 50–100 percent isopropanol, 0.1 percent sodium hypochlorite, 0.5 percent hydrogen peroxide, and 0.2–7.5 percent povidone-iodine. Other solutions, such as benzalkonium chloride and chlorhexidine gluconate, are less effective. Ultraviolet germicidal irradiation may also be used. The CDC recommends that if a COVID-19 case is suspected or confirmed at a facility such as an office or day care, all areas such as offices, bathrooms, common areas, shared electronic equipment like tablets, touch screens, keyboards, remote controls, and ATM machines used by the ill persons should be disinfected. A datasheet comprising the authorised substances to disinfection in the food industry (including suspension or surface tested, kind of surface, use dilution, disinfectant and inocuylum volumes) can be seen in the supplementary material of.
VENTILATION AND AIR FILTRATION
The WHO recommends ventilation and air filtration in public spaces to help clear out infectious aerosols.
HEALTHY DIET AND LIFESTYLE
The Harvard T.H. Chan School of Public Health recommends a healthy diet, being physically active, managing psychological stress, and getting enough sleep.
While there is no evidence that vitamin D is an effective treatment for COVID-19, there is limited evidence that vitamin D deficiency increases the risk of severe COVID-19 symptoms. This has led to recommendations for individuals with vitamin D deficiency to take vitamin D supplements as a way of mitigating the risk of COVID-19 and other health issues associated with a possible increase in deficiency due to social distancing.
TREATMENT
There is no specific, effective treatment or cure for coronavirus disease 2019 (COVID-19), the disease caused by the SARS-CoV-2 virus. Thus, the cornerstone of management of COVID-19 is supportive care, which includes treatment to relieve symptoms, fluid therapy, oxygen support and prone positioning as needed, and medications or devices to support other affected vital organs.
Most cases of COVID-19 are mild. In these, supportive care includes medication such as paracetamol or NSAIDs to relieve symptoms (fever, body aches, cough), proper intake of fluids, rest, and nasal breathing. Good personal hygiene and a healthy diet are also recommended. The U.S. Centers for Disease Control and Prevention (CDC) recommend that those who suspect they are carrying the virus isolate themselves at home and wear a face mask.
People with more severe cases may need treatment in hospital. In those with low oxygen levels, use of the glucocorticoid dexamethasone is strongly recommended, as it can reduce the risk of death. Noninvasive ventilation and, ultimately, admission to an intensive care unit for mechanical ventilation may be required to support breathing. Extracorporeal membrane oxygenation (ECMO) has been used to address the issue of respiratory failure, but its benefits are still under consideration.
Several experimental treatments are being actively studied in clinical trials. Others were thought to be promising early in the pandemic, such as hydroxychloroquine and lopinavir/ritonavir, but later research found them to be ineffective or even harmful. Despite ongoing research, there is still not enough high-quality evidence to recommend so-called early treatment. Nevertheless, in the United States, two monoclonal antibody-based therapies are available for early use in cases thought to be at high risk of progression to severe disease. The antiviral remdesivir is available in the U.S., Canada, Australia, and several other countries, with varying restrictions; however, it is not recommended for people needing mechanical ventilation, and is discouraged altogether by the World Health Organization (WHO), due to limited evidence of its efficacy.
PROGNOSIS
The severity of COVID-19 varies. The disease may take a mild course with few or no symptoms, resembling other common upper respiratory diseases such as the common cold. In 3–4% of cases (7.4% for those over age 65) symptoms are severe enough to cause hospitalization. Mild cases typically recover within two weeks, while those with severe or critical diseases may take three to six weeks to recover. Among those who have died, the time from symptom onset to death has ranged from two to eight weeks. The Italian Istituto Superiore di Sanità reported that the median time between the onset of symptoms and death was twelve days, with seven being hospitalised. However, people transferred to an ICU had a median time of ten days between hospitalisation and death. Prolonged prothrombin time and elevated C-reactive protein levels on admission to the hospital are associated with severe course of COVID-19 and with a transfer to ICU.
Some early studies suggest 10% to 20% of people with COVID-19 will experience symptoms lasting longer than a month.[191][192] A majority of those who were admitted to hospital with severe disease report long-term problems including fatigue and shortness of breath. On 30 October 2020 WHO chief Tedros Adhanom warned that "to a significant number of people, the COVID virus poses a range of serious long-term effects". He has described the vast spectrum of COVID-19 symptoms that fluctuate over time as "really concerning." They range from fatigue, a cough and shortness of breath, to inflammation and injury of major organs – including the lungs and heart, and also neurological and psychologic effects. Symptoms often overlap and can affect any system in the body. Infected people have reported cyclical bouts of fatigue, headaches, months of complete exhaustion, mood swings, and other symptoms. Tedros has concluded that therefore herd immunity is "morally unconscionable and unfeasible".
In terms of hospital readmissions about 9% of 106,000 individuals had to return for hospital treatment within 2 months of discharge. The average to readmit was 8 days since first hospital visit. There are several risk factors that have been identified as being a cause of multiple admissions to a hospital facility. Among these are advanced age (above 65 years of age) and presence of a chronic condition such as diabetes, COPD, heart failure or chronic kidney disease.
According to scientific reviews smokers are more likely to require intensive care or die compared to non-smokers, air pollution is similarly associated with risk factors, and pre-existing heart and lung diseases and also obesity contributes to an increased health risk of COVID-19.
It is also assumed that those that are immunocompromised are at higher risk of getting severely sick from SARS-CoV-2. One research that looked into the COVID-19 infections in hospitalized kidney transplant recipients found a mortality rate of 11%.
See also: Impact of the COVID-19 pandemic on children
Children make up a small proportion of reported cases, with about 1% of cases being under 10 years and 4% aged 10–19 years. They are likely to have milder symptoms and a lower chance of severe disease than adults. A European multinational study of hospitalized children published in The Lancet on 25 June 2020 found that about 8% of children admitted to a hospital needed intensive care. Four of those 582 children (0.7%) died, but the actual mortality rate could be "substantially lower" since milder cases that did not seek medical help were not included in the study.
Genetics also plays an important role in the ability to fight off the disease. For instance, those that do not produce detectable type I interferons or produce auto-antibodies against these may get much sicker from COVID-19. Genetic screening is able to detect interferon effector genes.
Pregnant women may be at higher risk of severe COVID-19 infection based on data from other similar viruses, like SARS and MERS, but data for COVID-19 is lacking.
COMPLICATIONS
Complications may include pneumonia, acute respiratory distress syndrome (ARDS), multi-organ failure, septic shock, and death. Cardiovascular complications may include heart failure, arrhythmias, heart inflammation, and blood clots. Approximately 20–30% of people who present with COVID-19 have elevated liver enzymes, reflecting liver injury.
Neurologic manifestations include seizure, stroke, encephalitis, and Guillain–Barré syndrome (which includes loss of motor functions). Following the infection, children may develop paediatric multisystem inflammatory syndrome, which has symptoms similar to Kawasaki disease, which can be fatal. In very rare cases, acute encephalopathy can occur, and it can be considered in those who have been diagnosed with COVID-19 and have an altered mental status.
LONGER-TERM EFFECTS
Some early studies suggest that that 10 to 20% of people with COVID-19 will experience symptoms lasting longer than a month. A majority of those who were admitted to hospital with severe disease report long-term problems, including fatigue and shortness of breath. About 5-10% of patients admitted to hospital progress to severe or critical disease, including pneumonia and acute respiratory failure.
By a variety of mechanisms, the lungs are the organs most affected in COVID-19.[228] The majority of CT scans performed show lung abnormalities in people tested after 28 days of illness.
People with advanced age, severe disease, prolonged ICU stays, or who smoke are more likely to have long lasting effects, including pulmonary fibrosis. Overall, approximately one third of those investigated after 4 weeks will have findings of pulmonary fibrosis or reduced lung function as measured by DLCO, even in people who are asymptomatic, but with the suggestion of continuing improvement with the passing of more time.
IMMUNITY
The immune response by humans to CoV-2 virus occurs as a combination of the cell-mediated immunity and antibody production, just as with most other infections. Since SARS-CoV-2 has been in the human population only since December 2019, it remains unknown if the immunity is long-lasting in people who recover from the disease. The presence of neutralizing antibodies in blood strongly correlates with protection from infection, but the level of neutralizing antibody declines with time. Those with asymptomatic or mild disease had undetectable levels of neutralizing antibody two months after infection. In another study, the level of neutralizing antibody fell 4-fold 1 to 4 months after the onset of symptoms. However, the lack of antibody in the blood does not mean antibody will not be rapidly produced upon reexposure to SARS-CoV-2. Memory B cells specific for the spike and nucleocapsid proteins of SARS-CoV-2 last for at least 6 months after appearance of symptoms. Nevertheless, 15 cases of reinfection with SARS-CoV-2 have been reported using stringent CDC criteria requiring identification of a different variant from the second infection. There are likely to be many more people who have been reinfected with the virus. Herd immunity will not eliminate the virus if reinfection is common. Some other coronaviruses circulating in people are capable of reinfection after roughly a year. Nonetheless, on 3 March 2021, scientists reported that a much more contagious Covid-19 variant, Lineage P.1, first detected in Japan, and subsequently found in Brazil, as well as in several places in the United States, may be associated with Covid-19 disease reinfection after recovery from an earlier Covid-19 infection.
MORTALITY
Several measures are commonly used to quantify mortality. These numbers vary by region and over time and are influenced by the volume of testing, healthcare system quality, treatment options, time since the initial outbreak, and population characteristics such as age, sex, and overall health. The mortality rate reflects the number of deaths within a specific demographic group divided by the population of that demographic group. Consequently, the mortality rate reflects the prevalence as well as the severity of the disease within a given population. Mortality rates are highly correlated to age, with relatively low rates for young people and relatively high rates among the elderly.
The case fatality rate (CFR) reflects the number of deaths divided by the number of diagnosed cases within a given time interval. Based on Johns Hopkins University statistics, the global death-to-case ratio is 2.2% (2,685,770/121,585,388) as of 18 March 2021. The number varies by region. The CFR may not reflect the true severity of the disease, because some infected individuals remain asymptomatic or experience only mild symptoms, and hence such infections may not be included in official case reports. Moreover, the CFR may vary markedly over time and across locations due to the availability of live virus tests.
INFECTION FATALITY RATE
A key metric in gauging the severity of COVID-19 is the infection fatality rate (IFR), also referred to as the infection fatality ratio or infection fatality risk. This metric is calculated by dividing the total number of deaths from the disease by the total number of infected individuals; hence, in contrast to the CFR, the IFR incorporates asymptomatic and undiagnosed infections as well as reported cases.
CURRENT ESTIMATES
A December 2020 systematic review and meta-analysis estimated that population IFR during the first wave of the pandemic was about 0.5% to 1% in many locations (including France, Netherlands, New Zealand, and Portugal), 1% to 2% in other locations (Australia, England, Lithuania, and Spain), and exceeded 2% in Italy. That study also found that most of these differences in IFR reflected corresponding differences in the age composition of the population and age-specific infection rates; in particular, the metaregression estimate of IFR is very low for children and younger adults (e.g., 0.002% at age 10 and 0.01% at age 25) but increases progressively to 0.4% at age 55, 1.4% at age 65, 4.6% at age 75, and 15% at age 85. These results were also highlighted in a December 2020 report issued by the WHO.
EARLIER ESTIMATES OF IFR
At an early stage of the pandemic, the World Health Organization reported estimates of IFR between 0.3% and 1%.[ On 2 July, The WHO's chief scientist reported that the average IFR estimate presented at a two-day WHO expert forum was about 0.6%. In August, the WHO found that studies incorporating data from broad serology testing in Europe showed IFR estimates converging at approximately 0.5–1%. Firm lower limits of IFRs have been established in a number of locations such as New York City and Bergamo in Italy since the IFR cannot be less than the population fatality rate. As of 10 July, in New York City, with a population of 8.4 million, 23,377 individuals (18,758 confirmed and 4,619 probable) have died with COVID-19 (0.3% of the population).Antibody testing in New York City suggested an IFR of ~0.9%,[258] and ~1.4%. In Bergamo province, 0.6% of the population has died. In September 2020 the U.S. Center for Disease Control & Prevention reported preliminary estimates of age-specific IFRs for public health planning purposes.
SEX DIFFERENCES
Early reviews of epidemiologic data showed gendered impact of the pandemic and a higher mortality rate in men in China and Italy. The Chinese Center for Disease Control and Prevention reported the death rate was 2.8% for men and 1.7% for women. Later reviews in June 2020 indicated that there is no significant difference in susceptibility or in CFR between genders. One review acknowledges the different mortality rates in Chinese men, suggesting that it may be attributable to lifestyle choices such as smoking and drinking alcohol rather than genetic factors. Sex-based immunological differences, lesser prevalence of smoking in women and men developing co-morbid conditions such as hypertension at a younger age than women could have contributed to the higher mortality in men. In Europe, 57% of the infected people were men and 72% of those died with COVID-19 were men. As of April 2020, the US government is not tracking sex-related data of COVID-19 infections. Research has shown that viral illnesses like Ebola, HIV, influenza and SARS affect men and women differently.
ETHNIC DIFFERENCES
In the US, a greater proportion of deaths due to COVID-19 have occurred among African Americans and other minority groups. Structural factors that prevent them from practicing social distancing include their concentration in crowded substandard housing and in "essential" occupations such as retail grocery workers, public transit employees, health-care workers and custodial staff. Greater prevalence of lacking health insurance and care and of underlying conditions such as diabetes, hypertension and heart disease also increase their risk of death. Similar issues affect Native American and Latino communities. According to a US health policy non-profit, 34% of American Indian and Alaska Native People (AIAN) non-elderly adults are at risk of serious illness compared to 21% of white non-elderly adults. The source attributes it to disproportionately high rates of many health conditions that may put them at higher risk as well as living conditions like lack of access to clean water. Leaders have called for efforts to research and address the disparities. In the U.K., a greater proportion of deaths due to COVID-19 have occurred in those of a Black, Asian, and other ethnic minority background. More severe impacts upon victims including the relative incidence of the necessity of hospitalization requirements, and vulnerability to the disease has been associated via DNA analysis to be expressed in genetic variants at chromosomal region 3, features that are associated with European Neanderthal heritage. That structure imposes greater risks that those affected will develop a more severe form of the disease. The findings are from Professor Svante Pääbo and researchers he leads at the Max Planck Institute for Evolutionary Anthropology and the Karolinska Institutet. This admixture of modern human and Neanderthal genes is estimated to have occurred roughly between 50,000 and 60,000 years ago in Southern Europe.
COMORBIDITIES
Most of those who die of COVID-19 have pre-existing (underlying) conditions, including hypertension, diabetes mellitus, and cardiovascular disease. According to March data from the United States, 89% of those hospitalised had preexisting conditions. The Italian Istituto Superiore di Sanità reported that out of 8.8% of deaths where medical charts were available, 96.1% of people had at least one comorbidity with the average person having 3.4 diseases. According to this report the most common comorbidities are hypertension (66% of deaths), type 2 diabetes (29.8% of deaths), Ischemic Heart Disease (27.6% of deaths), atrial fibrillation (23.1% of deaths) and chronic renal failure (20.2% of deaths).
Most critical respiratory comorbidities according to the CDC, are: moderate or severe asthma, pre-existing COPD, pulmonary fibrosis, cystic fibrosis. Evidence stemming from meta-analysis of several smaller research papers also suggests that smoking can be associated with worse outcomes. When someone with existing respiratory problems is infected with COVID-19, they might be at greater risk for severe symptoms. COVID-19 also poses a greater risk to people who misuse opioids and methamphetamines, insofar as their drug use may have caused lung damage.
In August 2020 the CDC issued a caution that tuberculosis infections could increase the risk of severe illness or death. The WHO recommended that people with respiratory symptoms be screened for both diseases, as testing positive for COVID-19 couldn't rule out co-infections. Some projections have estimated that reduced TB detection due to the pandemic could result in 6.3 million additional TB cases and 1.4 million TB related deaths by 2025.
NAME
During the initial outbreak in Wuhan, China, the virus and disease were commonly referred to as "coronavirus" and "Wuhan coronavirus", with the disease sometimes called "Wuhan pneumonia". In the past, many diseases have been named after geographical locations, such as the Spanish flu, Middle East Respiratory Syndrome, and Zika virus. In January 2020, the WHO recommended 2019-nCov and 2019-nCoV acute respiratory disease as interim names for the virus and disease per 2015 guidance and international guidelines against using geographical locations (e.g. Wuhan, China), animal species, or groups of people in disease and virus names in part to prevent social stigma. The official names COVID-19 and SARS-CoV-2 were issued by the WHO on 11 February 2020. Tedros Adhanom explained: CO for corona, VI for virus, D for disease and 19 for when the outbreak was first identified (31 December 2019). The WHO additionally uses "the COVID-19 virus" and "the virus responsible for COVID-19" in public communications.
HISTORY
The virus is thought to be natural and of an animal origin, through spillover infection. There are several theories about where the first case (the so-called patient zero) originated. Phylogenetics estimates that SARS-CoV-2 arose in October or November 2019. Evidence suggests that it descends from a coronavirus that infects wild bats, and spread to humans through an intermediary wildlife host.
The first known human infections were in Wuhan, Hubei, China. A study of the first 41 cases of confirmed COVID-19, published in January 2020 in The Lancet, reported the earliest date of onset of symptoms as 1 December 2019.Official publications from the WHO reported the earliest onset of symptoms as 8 December 2019. Human-to-human transmission was confirmed by the WHO and Chinese authorities by 20 January 2020. According to official Chinese sources, these were mostly linked to the Huanan Seafood Wholesale Market, which also sold live animals. In May 2020 George Gao, the director of the CDC, said animal samples collected from the seafood market had tested negative for the virus, indicating that the market was the site of an early superspreading event, but that it was not the site of the initial outbreak.[ Traces of the virus have been found in wastewater samples that were collected in Milan and Turin, Italy, on 18 December 2019.
By December 2019, the spread of infection was almost entirely driven by human-to-human transmission. The number of coronavirus cases in Hubei gradually increased, reaching 60 by 20 December, and at least 266 by 31 December. On 24 December, Wuhan Central Hospital sent a bronchoalveolar lavage fluid (BAL) sample from an unresolved clinical case to sequencing company Vision Medicals. On 27 and 28 December, Vision Medicals informed the Wuhan Central Hospital and the Chinese CDC of the results of the test, showing a new coronavirus. A pneumonia cluster of unknown cause was observed on 26 December and treated by the doctor Zhang Jixian in Hubei Provincial Hospital, who informed the Wuhan Jianghan CDC on 27 December. On 30 December, a test report addressed to Wuhan Central Hospital, from company CapitalBio Medlab, stated an erroneous positive result for SARS, causing a group of doctors at Wuhan Central Hospital to alert their colleagues and relevant hospital authorities of the result. The Wuhan Municipal Health Commission issued a notice to various medical institutions on "the treatment of pneumonia of unknown cause" that same evening. Eight of these doctors, including Li Wenliang (punished on 3 January), were later admonished by the police for spreading false rumours and another, Ai Fen, was reprimanded by her superiors for raising the alarm.
The Wuhan Municipal Health Commission made the first public announcement of a pneumonia outbreak of unknown cause on 31 December, confirming 27 cases—enough to trigger an investigation.
During the early stages of the outbreak, the number of cases doubled approximately every seven and a half days. In early and mid-January 2020, the virus spread to other Chinese provinces, helped by the Chinese New Year migration and Wuhan being a transport hub and major rail interchange. On 20 January, China reported nearly 140 new cases in one day, including two people in Beijing and one in Shenzhen. Later official data shows 6,174 people had already developed symptoms by then, and more may have been infected. A report in The Lancet on 24 January indicated human transmission, strongly recommended personal protective equipment for health workers, and said testing for the virus was essential due to its "pandemic potential". On 30 January, the WHO declared the coronavirus a Public Health Emergency of International Concern. By this time, the outbreak spread by a factor of 100 to 200 times.
Italy had its first confirmed cases on 31 January 2020, two tourists from China. As of 13 March 2020 the WHO considered Europe the active centre of the pandemic. Italy overtook China as the country with the most deaths on 19 March 2020. By 26 March the United States had overtaken China and Italy with the highest number of confirmed cases in the world. Research on coronavirus genomes indicates the majority of COVID-19 cases in New York came from European travellers, rather than directly from China or any other Asian country. Retesting of prior samples found a person in France who had the virus on 27 December 2019, and a person in the United States who died from the disease on 6 February 2020.
After 55 days without a locally transmitted case, Beijing reported a new COVID-19 case on 11 June 2020 which was followed by two more cases on 12 June. By 15 June there were 79 cases officially confirmed, most of them were people that went to Xinfadi Wholesale Market.
RT-PCR testing of untreated wastewater samples from Brazil and Italy have suggested detection of SARS-CoV-2 as early as November and December 2019, respectively, but the methods of such sewage studies have not been optimised, many have not been peer reviewed, details are often missing, and there is a risk of false positives due to contamination or if only one gene target is detected. A September 2020 review journal article said, "The possibility that the COVID-19 infection had already spread to Europe at the end of last year is now indicated by abundant, even if partially circumstantial, evidence", including pneumonia case numbers and radiology in France and Italy in November and December.
MISINFORMATION
After the initial outbreak of COVID-19, misinformation and disinformation regarding the origin, scale, prevention, treatment, and other aspects of the disease rapidly spread online.
In September 2020, the U.S. CDC published preliminary estimates of the risk of death by age groups in the United States, but those estimates were widely misreported and misunderstood.
OTHER ANIMALS
Humans appear to be capable of spreading the virus to some other animals, a type of disease transmission referred to as zooanthroponosis.
Some pets, especially cats and ferrets, can catch this virus from infected humans. Symptoms in cats include respiratory (such as a cough) and digestive symptoms. Cats can spread the virus to other cats, and may be able to spread the virus to humans, but cat-to-human transmission of SARS-CoV-2 has not been proven. Compared to cats, dogs are less susceptible to this infection. Behaviors which increase the risk of transmission include kissing, licking, and petting the animal.
The virus does not appear to be able to infect pigs, ducks, or chickens at all.[ Mice, rats, and rabbits, if they can be infected at all, are unlikely to be involved in spreading the virus.
Tigers and lions in zoos have become infected as a result of contact with infected humans. As expected, monkeys and great ape species such as orangutans can also be infected with the COVID-19 virus.
Minks, which are in the same family as ferrets, have been infected. Minks may be asymptomatic, and can also spread the virus to humans. Multiple countries have identified infected animals in mink farms. Denmark, a major producer of mink pelts, ordered the slaughter of all minks over fears of viral mutations. A vaccine for mink and other animals is being researched.
RESEARCH
International research on vaccines and medicines in COVID-19 is underway by government organisations, academic groups, and industry researchers. The CDC has classified it to require a BSL3 grade laboratory. There has been a great deal of COVID-19 research, involving accelerated research processes and publishing shortcuts to meet the global demand.
As of December 2020, hundreds of clinical trials have been undertaken, with research happening on every continent except Antarctica. As of November 2020, more than 200 possible treatments had been studied in humans so far.
Transmission and prevention research
Modelling research has been conducted with several objectives, including predictions of the dynamics of transmission, diagnosis and prognosis of infection, estimation of the impact of interventions, or allocation of resources. Modelling studies are mostly based on epidemiological models, estimating the number of infected people over time under given conditions. Several other types of models have been developed and used during the COVID-19 including computational fluid dynamics models to study the flow physics of COVID-19, retrofits of crowd movement models to study occupant exposure, mobility-data based models to investigate transmission, or the use of macroeconomic models to assess the economic impact of the pandemic. Further, conceptual frameworks from crisis management research have been applied to better understand the effects of COVID-19 on organizations worldwide.
TREATMENT-RELATED RESEARCH
Repurposed antiviral drugs make up most of the research into COVID-19 treatments. Other candidates in trials include vasodilators, corticosteroids, immune therapies, lipoic acid, bevacizumab, and recombinant angiotensin-converting enzyme 2.
In March 2020, the World Health Organization (WHO) initiated the Solidarity trial to assess the treatment effects of some promising drugs: an experimental drug called remdesivir; anti-malarial drugs chloroquine and hydroxychloroquine; two anti-HIV drugs, lopinavir/ritonavir; and interferon-beta. More than 300 active clinical trials were underway as of April 2020.
Research on the antimalarial drugs hydroxychloroquine and chloroquine showed that they were ineffective at best, and that they may reduce the antiviral activity of remdesivir. By May 2020, France, Italy, and Belgium had banned the use of hydroxychloroquine as a COVID-19 treatment.
In June, initial results from the randomised RECOVERY Trial in the United Kingdom showed that dexamethasone reduced mortality by one third for people who are critically ill on ventilators and one fifth for those receiving supplemental oxygen. Because this is a well-tested and widely available treatment, it was welcomed by the WHO, which is in the process of updating treatment guidelines to include dexamethasone and other steroids. Based on those preliminary results, dexamethasone treatment has been recommended by the NIH for patients with COVID-19 who are mechanically ventilated or who require supplemental oxygen but not in patients with COVID-19 who do not require supplemental oxygen.
In September 2020, the WHO released updated guidance on using corticosteroids for COVID-19. The WHO recommends systemic corticosteroids rather than no systemic corticosteroids for the treatment of people with severe and critical COVID-19 (strong recommendation, based on moderate certainty evidence). The WHO suggests not to use corticosteroids in the treatment of people with non-severe COVID-19 (conditional recommendation, based on low certainty evidence). The updated guidance was based on a meta-analysis of clinical trials of critically ill COVID-19 patients.
WIKIPEDIA
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"PTSD is a psychological dysfunction which results from a traumatic experience which overwhelms a person's normal defense mechanisms resulting in intense fear, feelings of helplessness or being trapped, or loss of control. The risk that an experience will be traumatic is increased when the traumatizing event is perceived as including threats of physical injury, sexual violation, or the witnessing of or participation in a violent death. PTSD results when the traumatic event causes the hyperarousal of "flight or fight" defense mechanisms. This hyperarousal causes these defense mechanisms to become disorganized, disconnected from present circumstances, and take on a life of their own resulting in abnormal behavior and major personality disorders. As an example of this disconnection of mental functions, some PTSD victims may experience intense emotion but without clear memory of the event; others may remember every detail but without emotion; still others may reexperience both the event and the emotions in intrusive and overwhelming flashback experiences."
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Folkloric
- Decoction of leaves of all ages used for diabetes mellitus. Some physicians believe the dried fruit decoction to be better.
- Roots have been used for a variety of stomach ailments. Leaf decoction for diabetes; also use as a diuretic and purgative.
- Decoction of old leaves and dried fruit (dried from one to two weeks), 50 gms to a pint of boiling water, 4 to 6 cups daily has been used for diabetes. Old leaves and ripe fruit are preferred, believed to have greater glucose lowering effect. Young leaves and flowers have a similar effect, though only 70% that of matures leaves and fruits. The wood has no known glucose lowering effect; the bark, a very small amount. A decoction of 20 gms of old leaves or dried fruit in 100 cc of water was found to have the equivalent effect to that of 6 to 7.7 units of insulin.
- In Pahang decoction of bark has been used for the treatment of diarrhea.
- Infusion of bark used for diarrhea.
- The bark, flowers and leaves used to facilitate bowel movements.
- Decoction of fruits or roots gargled for aphthous stomatitis.
- Decoction of leaves and flowers used for fevers and as diuretic.
- Leaf decoction or infusion used for bladder and kidney inflammation, dysuria, and other urinary dysfunctions.
- Seeds considered to have narcotic properties; also employed against aphthae.
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COPENHAGEN ULTRACONTEMPORARY BIENNALE
COPENHAGEN ULTRACONTEMPORARY BIENNALE is programed to take place in 2017 activating several art institutions, public space and daily media.
The aim of COPENHAGEN ULTRACONTEMPORARY BIENNALE is to introduce internationally the importance of ULTRACONTEMPORARY, EMERGENCY ART and ART FORMAT.
ULTRACONTEMPORARY (artistic capacity to express in sync with time and in closest possible proximity to “now”)
EMERGENCY ART (artistic duty to spot dysfunctions in the society, and act upon them before it is too late)
ART FORMAT (artistic framework created to expend and be activated globally in different contexts)
COPENHAGEN ULTRACONTEMPORARY BIENNALE is designed to stimulate flexibility and self-critique of what we today consider contemporary. Until 2017 there will continuously be organized a line of conferences and research projects as well as visible recruiting initiatives in order to establish a solid working team, train artists, introduce new methods for audience development and public involvement. One of the preparative education initiatives is ACADEMY OF EMERGENCY ART
This biennale format is built by Thierry Geoffroy / COLONEL, funder/ art format owner and Tijana Miskovic, curator/director.
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COPENHAGEN ULTRACONTEMPORARY BIENNALE
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meanwhile contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Chris Matthews of Hardball discusses faith, service, and America's current political dysfunction with Rev. Bob McElroy
University of San Francisco
March 18, 2014
Photos by Carly Dahl
Leo T. McCarthy Center
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Paige was diagnosed with West syndrome or West's Syndrome (September 2010) it is an uncommon to rare epileptic disorder in infants.
The syndrome is age-related, generally occurring between the third and the twelfth month, generally manifesting around the fifth month. There are various causes ("polyetiology"). The syndrome is often caused by an organic brain dysfunction whose origins may be prenatal, perinatal (caused during birth) or postnatal.
It is either Cryptogenic or Idiopathic.
Cryptogenic
When a direct cause cannot be determined but the child has other neurological disorder, the case is referred to as cryptogenic West syndrome, where an underlying cause is most likely but, even with modern means, cannot be detected. Currently the cryptogenic group is often combined with idiopathic while referred to as "cryptogenic".
Sometimes multiple children within the same family develop West syndrome. In this case it is also referred to as cryptogenic, in which genetic and sometimes hereditary influences play a role. There are known cases in which West syndrome appears in successive generations in boys; this has to do with X-chromosomal heredity.
[edit] Idiopathic
Occasionally the syndrome is referred to as idiopathic West syndrome, when a cause cannot be determined. Important diagnostic criteria are:
Regular development until the onset of the attacks or before the beginning of the therapy no pathological findings in neurological or neuroradiological studies no evidence of a trigger for the spasms
Those are becoming rare due to modern medicine.
Clinical presentation
The epileptic seizures which can be observed in infants with West syndrome fall into three categories, collectively known as infantile spasms. Typically, the following triad of attack types appears; while the three types usually appear simultaneously, they also can occur independently of each other:
Lightning attacks: Sudden, severe myoclonic convulsions of the entire body or several parts of the body in split seconds, and the legs in particular are bent (flexor muscle convulsions here are generally more severe than extensor ones).
Nodding attacks: Convulsions of the throat and neck flexor muscles, during which the chin is fitfully jerked towards the breast or the head is drawn inward.
Salaam or jackknife attacks: a flexor spasm with rapid bending of the head and torso forward and simultaneous raising and bending of the arms while partially drawing the hands together in front of the chest and/or flailing. If one imagined this act in slow motion, it would appear similar to the oriental ceremonial greeting (Salaam), from which this type of attack derives its name.
Paige was first put on Vigabatrin which she outgrew a month later. She was admitted again into Kingston General Hospital to begin a treatment called ACTH.
Therapy
Compared with other forms of epilepsy, West syndrome is difficult to treat. To raise the chance of successful treatment and keep down the risk of longer-lasting effects, it is very important that the condition is diagnosed as early as possible and that treatment begins straight away. However, there is no guarantee that therapy will work even in this case.
Insufficient research has yet been carried out into whether the form of treatment has an effect upon the long-term prognosis. Based on what is known today, the prognosis depends mainly on the cause of the attacks and the length of time that hypsarrhythmia lasts. In general it can be said that the prognosis is worse when the patient does not react as well to therapy and the epileptic over-activity in the brain continues. Treatment differs in each individual case and depends on the cause of the West syndrome (etiological classification) and the state of brain development at the time of the damage.
Due to their side-effects, two drugs are currently being used as the first-line treatment: ACTH and Vigabatrin.
[edit] ACTH
ACTH - Use primarily in United States
Side effects are: Weight gain, especially in the trunk and face, hypertension, metabolic abnormalities, severe irritability, osteoporosis, sepsis, and congestive heart failure.
[edit] Vigabatrin
Vigabatrin (Sabril) - Approved in several countries, including most of Europe, Canada, Mexico, and more recently the United States.
Side effects are: Somnolence, headache, dizziness, fatigue, weight gain, decreased vision or other vision changes
Vigabatrin is known for being effective, especially in children with tuberous sclerosis, with few and benign side effects. But due to some recent studies[4] showing visual field constriction (loss of peripheral vision), it was not approved in the United States until mid-2009. It is currently debated that a short use (6 months or less) of Vigabatrin will not affect vision. Also, considering the effect of frequent seizures on day to day life and mental development, some parents prefer to take the risk of some vision loss.
Other
When those two are proving ineffective, other drugs may be used in conjunction or alone. From those, corticosteroids (prednisone) are often used. In Japan, there is a good experience with pyridoxine therapy. Further, topiramate (Topamax), lamotrigine (Lamictal), levetiracetam (Keppra) and zonisamide (Zonegran) are amongst those drugs most widely used.
The ketogenic diet has been shown to be effective in treating infantile spams,[5] up to 70% of children having a 50% or more reduction in seizure.
You can read more on Infantile Spasms by going to : en.wikipedia.org/wiki/West_syndrome
You can also view my youtube channel:
www.youtube.com/user/Shaeree624
I have uploaded videos for those who wonder what the Syndrome is and looks like.
I posted pictures of my beautiful baby girl because people need to understand being chubby or overweight may not always be caused by overfeeding. My daughters was caused by the ACTH treatment which is a steroid.
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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