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Italien / Toskana - San Gimignano
Piazza Duomo
San Gimignano (Italian pronunciation: [san dʒimiɲˈɲaːno]) is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls, form "an unforgettable skyline". Within the walls, the well-preserved buildings include notable examples of both Romanesque and Gothic architecture, with outstanding examples of secular buildings as well as churches. The Palazzo Comunale, the Collegiate Church and Church of Sant' Agostino contain frescos, including cycles dating from the 14th and 15th centuries. The "Historic Centre of San Gimignano" is a UNESCO World Heritage Site. The town also is known for saffron, the Golden Ham, pecorino cheese and its white wine, Vernaccia di San Gimignano, produced from the ancient variety of Vernaccia grape which is grown on the sandstone hillsides of the area.
Territory
The municipality of San Gimignano extends for 138 km² and is located on a hill in Val d'Elsa. The altitude difference is between a minimum of 64 meters a.s.l. in the plain of the river Elsa near Certaldo at a maximum of 631 meters in the area of Cornocchio.
History
In the 3rd century BC a small Etruscan village stood on the site of San Gimignano. Chroniclers Lupi, Coppi and Pecori relate that during the Catiline conspiracy against the Roman Republic in the 1st century, two patrician brothers, Muzio and Silvio, fled Rome for Valdelsa and built two castles, Mucchio and Silvia (now San Gimignano). The name of Silvia was changed to San Gimignano in 450 AD after Bishop Geminianus, the Saint of Modena, intervened to spare the castle from destruction by the followers of Attila the Hun. As a result, a church was dedicated to the saint, and in the 6th and 7th centuries a walled village grew up around it, subsequently called the "Castle of San Gimignano" or Castle of the Forest because of the extensive woodland surrounding it. From 929 the town was ruled by the bishops of Volterra.
In the Middle Ages and the Renaissance era, it was a stopping point for Catholic pilgrims on their way to Rome and the Vatican, as it sits on the medieval Via Francigena. The city's development was also improved by the trade of agricultural products from the fertile neighbouring hills, in particular saffron, used in both cooking and dyeing cloth and Vernaccia wine, said to inspire popes and poets.
In 1199, the city made itself independent of the bishops of Volterra and established a podestà, and set about enriching the commune with churches and public buildings. However, the peace of the town was disturbed for the next two centuries by conflict between the Guelphs and the Ghibellines, and family rivalries within San Gimignano. This resulted in competing families building tower houses of increasingly greater heights. Towards the end of the Medieval period, there were 72 tower houses in number, up to 70 metres (230 feet) tall. The rivalry was finally restrained when the local council ordained that no tower was to be taller than that adjacent to the Palazzo Comunale.
While the official patron is Saint Geminianus, the town also honours Saint Fina, known also as Seraphina and Serafina, who was born in San Gimignano 1238 and whose feast day is 12 March. The Chapel of Santa Fina in the Collegiate Church houses her shrine and frescos by Ghirlandaio. The house said to be her home still stands in the town.
On 8 May 1300, San Gimignano hosted Dante Alighieri in his role as ambassador of the Guelph League in Tuscany.
The city flourished until 1348, when it was struck by the Black Death that affected all of Europe, and about half the townsfolk died. The town submitted to the rule of Florence. Initially, some Gothic palazzi were built in the Florentine style, and many of the towers were reduced to the height of the houses. There was little subsequent development, and San Gimignano remained preserved in its medieval state until the 19th century, when its status as a touristic and artistic resort began to be recognised.
Description
The city is on the ridge of a hill with its main axis being north/south. It is encircled by three walls and has at its highest point, to the west, the ruins of a fortress dismantled in the 16th century. There are eight entrances into the city, set into the second wall, which dates from the 12th and 13th centuries. The main gates are Porta San Giovanni on the ridge extending south, Porta San Matteo to the north west and Porta S. Jacopo to the north east. The main streets are Via San Matteo and Via San Giovanni, which cross the city from north to south. At the heart of the town are four squares: the Piazza Duomo, on which stands the Collegiate Church; the Piazza della Cisterna, the Piazza Pecori and the Piazza delle Erbe. To the north of the town is another significant square, Piazza Agostino, on which stands the Church of Sant' Agostino. The locations of the Collegiate Church and Sant' Agostino's and their piazzas effectively divide the town into two regions.
Main sights
The town of San Gimignano has many examples of Romanesque and Gothic architecture. As well as churches and medieval fortifications, there are examples of Romanesque secular and domestic architecture which may be distinguished from each other by their round and pointed arches, respectively. A particular feature which is typical of the region of Siena is that the arches of openings are depressed, with doorways often having a second low arch set beneath a semi-circular or pointed arch. Both Romanesque and Gothic windows sometimes have a bifurcate form, with two openings divided by a stone mullion under a single arch.
Culture
San Gimignano is the birthplace of the poet Folgore da San Gimignano (1270–1332).
A fictionalised version of San Gimignano is featured in E. M. Forster's 1905 novel, Where Angels Fear to Tread as Monteriano.
M. C. Escher's 1923 woodcut San Gimignano depicts the celebrated towers.
Franco Zeffirelli used San Gimignano as a stand-in for the town of Assisi in his 1972 Saint Francis of Assisi biopic Brother Sun, Sister Moon. Most of the "Assisi" scenes were filmed here
Tea with Mussolini, a 1999 drama about the plight of English and American expatriate women in Italy during World War II, was filmed in part in San Gimignano. The frescoes that the women save from being destroyed during the German Army's withdrawal are inside the Duomo, the town's main church. The account of this episode is, to a large extent, fictional, because, although there are reports of intended retribution against the town, there is no evidence of a plan to destroy the churches. However, the reference to risk of cultural destruction is historic, as the Allies bombed the area for ten days.
In the 2005 novel The Broker by John Grisham, Joel Backman takes his second of three wives on vacation in Italy to keep her from divorcing him. They rent a 14th-century monastery near San Gimignano for a month.
A 15th-century version of the town is featured in the 2009 video game Assassin's Creed II.
(Wikpedia)
Piazza della Cisterna is a piazza in San Gimignano, Italy. It has a triangular shape with a slight natural slope and is connected to the nearby Piazza del Duomo by an open passage. The pavement is brick and the piazza is surrounded by houses and medieval towers. There are presently 5 towers onto the square or very near it and the bases of other five are visible on the facade of the various palaces, plus one, the Ridolfi tower, which is no longer in existence having collapsed in 1646 onto the family palace, thus making this relatively small area a concentrate of medieval architecture. In the south-west corner, the piazza meets the Arc of Becci, (l'arco dei Becci), an ancient city gate. The arc is flanked by the massive rectangular towers of Becci (torri dei Becci) on the left and Cugnanesi (torri dei Cugnanesi) on the right.
Past the access to via di Castello, which led down to the original Bishop’s castle, the northern side is characterized by the renaissance Cortesi Palace, which includes la torre del Diavolo, and extends along the north side of the square including the old houses of the Cattani family. There remains of two pre-existing towers are clearly visible onto the facade of the Cortesi Palace.
The west side is adorned with various towers, like the twin towers of Ardinghelli and the tower of palazzo Pellari visible over the roofs.
History
The piazza is located at the intersection of two main streets of the village of San Gimignano: la via Francigena that run north to south and la via Pisa - [[Siena]that runs east to west]. The piazza was used as a market and a stage for festivals and tournaments. Originally the area was divided in two squares by the palace and tall tower of the Ridolfi family, the Piazza dell’ Olmo in the inferior and western part and the Piazza delle Taverne in the eastern side and with the cisterna in the middle. In 1646 the tall Ridolfi tower suddenly collapsed, destroying the palace and thus the two squares were merged into one, the Piazza della Cisterna.
The piazza is named after the underground cistern (Cisterna) built in 1287. The cistern is capped by a travertine octagonal pedestal, which was built in 1346 under the mayor Guccio Malavolti whose coat of arms with the ladder is carved onto the stones, and is close to the center of the square.
(Wikipedia)
San Gimignano ist eine italienische Kleinstadt in der Toskana mit einem mittelalterlichen Stadtkern. San Gimignano wird auch „Mittelalterliches Manhattan“ oder die „Stadt der Türme“ genannt. Die Stadt liegt in der Provinz Siena und hat 7717 Einwohner (Stand 31. Dezember 2019). Sie gehört neben Florenz, Siena und Pisa zu den von Touristen meistbesuchten Zielen in der Toskana.
Allgemeines
Der historische Stadtkern ist seit dem Jahr 1990 Teil des Weltkulturerbes der UNESCO. San Gimignano besitzt noch einige der mittelalterlichen Geschlechtertürme, die in anderen Städten nur als Stümpfe erhalten blieben. Im Mittelalter versuchten die Patrizierfamilien, sich in der Höhe ihres Geschlechterturmes zu übertreffen, obwohl ein luxuriöses Leben darin nicht möglich war. Von den einst 72 Geschlechtertürmen existieren in San Gimignano heute noch 15. Die beiden höchsten, der Torre Grossa aus dem Jahr 1311 und der Torre della Rognosa, weisen eine Höhe von 54 bzw. 51 Metern auf. Die Zisterne auf der Piazza della Cisterna entstand 1287 und wurde 1346 durch den Podestà Guccio Malavolti erweitert.
Geografie
Die Stadt liegt ca. 40 km südwestlich der Regionalhauptstadt Florenz und ca. 28 km nordwestlich der Provinzhauptstadt Siena an der Via Francigena und im Elsatal. San Gimignano liegt in der klimatischen Einordnung italienischer Gemeinden in der Zone D, 2 085 GR/G.
Zu den Ortsteilen gehören Badia a Elmi (94 m, gehört teilweise zu Certaldo), Castel San Gimignano (377 m, gehört teilweise zu Colle di Val d’Elsa), Pancole (272 m), Santa Lucia (268 m) und Ulignano. Weitere wichtige Orte im Gemeindegebiet sind Montauto (277 m), Monteoliveto (275 m) Ranza und San Donato (357 m). Größter Ortsteil ist Ulignano mit ca. 690 Einwohnern.
Die wichtigsten Flüsse im Gemeindegebiet sind der Elsa (4 von 81 km im Gemeindegebiet) sowie die Torrenti Foci (4 von 15 km im Gemeindegebiet) und Riguardi (7 von 7 km im Gemeindegebiet).
Die Nachbargemeinden sind Barberino Tavarnelle (FI), Certaldo (FI), Colle di Val d’Elsa, Gambassi Terme (FI), Poggibonsi und Volterra (PI).
Geschichte
San Gimignano soll bereits um 300 bis 200 v. Chr. von den Etruskern besiedelt worden sein. Erstmals dokumentiert wurde der Ort 929. Den Namen erhielt die Stadt von dem heiligen Bischof von Modena, San Gimignano. Es heißt, er habe das Dorf vor den barbarischen Horden des Totila geschützt.
Diese Stadt verdankt ihre Existenz der Via Francigena (Frankenstraße). Auf diesem Hauptverkehrsweg des mittelalterlichen Italiens zogen Händler und Pilger vom Norden nach Rom. Der Ort bildete sich als Marktstätte zwischen dem frühmittelalterlichen Castello und der Pieve, dem Vorgängerbau der Collegiata. Ein erster Stadtmauerring wurde im 10. Jahrhundert angelegt. Dessen Verlauf markieren zwei noch erhaltene Stadttore, im Norden der Arco della Cancelleria und im Süden der Arco dei Becci.
Vom 11. Jahrhundert an dehnte sich das Stadtgebiet entlang der Frankenstraße in nördlicher und südlicher Richtung aus. An die Existenz des früheren Castello erinnern die Via di Castello, eine der ältesten Straßen, und die Kirche von San Lorenzo, die bei der Zugbrücke lag. Mindestens seit dem Jahr 929 gehörte das Kastell den Bischöfen von Volterra. Diese Bischöfe waren es auch, die die Herrschaft über die sich ausdehnende Stadt ausübten. Erst 1199 gelang es den von den Bürgern gewählten Konsuln, Verträge ohne die Zustimmung des Bischofs zu unterzeichnen. San Gimignano war nie Bischofssitz, sondern gehörte zum kirchlichen Verwaltungsbezirk (Diözese) Volterra und erlangte somit auch keine Stadtrechte. Trotzdem verlief die politische Entwicklung der Landkommune in ähnlichen Schritten wie die der großen Städte. Die Regierung der Konsuln wurde durch den Podestà (einem gewählten Administrator) abgelöst. Diesem standen ein kleiner und ein großer Rat zur Seite. Dem großen Rat gehörte eine bemerkenswert hohe Zahl von 1200 Mitgliedern an, obwohl San Gimignano nur 6000 Einwohner hatte.
Die freie Kommune stritt bis ins 14. Jahrhundert mit den Bischöfen von Volterra in langjährigen Kriegen um Besitzrechte. Sie musste gegen die Nachbarorte Castelfiorentino, gegen Colle und Poggibonsi zu Felde ziehen und nahm auf der Seite des guelfischen Florenz an den großen Machtkämpfen des 13. Jahrhunderts teil. Auch innerhalb der Stadtmauern setzten sich die Kämpfe zwischen Guelfen (Welfen) und Ghibellinen (Waiblinger) fort. Es kam zu blutigen Familienfehden zwischen den Familien der Salvucci (Ghibellinen) und der Ardinghelli (Guelfen).
Ab Mai 1300 hielt sich Dante Alighieri in diplomatischer Mission in San Gimignano auf. Vom 15. Juni bis 15. August 1300 amtierte er als eines von sechs Mitgliedern des Priorats, des höchsten Gremiums der Stadt. Im Jahre 1319 versuchte er in seiner Funktion als führender Florentiner Politiker vergeblich, die verfeindeten Parteien zu versöhnen. Eine Kommune wie San Gimignano konnte sich im 14. Jahrhundert nicht mehr neben den Großmächten behaupten. Im Jahre 1348 wurde die Stadt neben Kriegsverlusten und Familienfehden durch die Pest stark geschwächt. Vier Jahre später, im Jahre 1352, begab sich die Stadt unter den Schutz von Florenz.
Die Blütezeit der Stadt dauerte 160 Jahre an, ihr Wohlstand beruhte auf Handel und dem Anbau von Safran, mit dem man Seidenstoffe färbte. Die Frankenstraße verlor im Spätmittelalter allmählich an Bedeutung, weil der Handel die bequemeren Wege durch die weitgehend trockengelegten Sümpfe der Ebenen vorzog. Die Stadt, die einst Gesetze gegen übertriebenen Luxus erlassen hatte, verarmte.
Hochrenaissance (ca. 1500 bis 1530) und Barock (1575 bis 1770) hinterließen in San Gimignano so gut wie keine Spuren. Die Stadt war niemals ein eigenständiges Kunstzentrum. Künstler aus Siena und Florenz malten die Fresken und Altartafeln. Die Paläste und Kirchen zeigen pisanische, sienesische, lucchesische und florentinische Stilmerkmale. In San Gimignano ist die Zeit scheinbar im Jahr 1563 stehengeblieben. Der erste der toskanischen Großherzöge, Cosimo I. de’ Medici, entschied, es dürfen „auch keine geringen Summen“ mehr in diese Stadt investiert werden. Das musste akzeptiert werden, und so ist San Gimignano geblieben, wie es damals war.
(Wikipedia)
I start working on finding the forms and their opposition. This is my first shot.
I was on the couch when I look up to see this. I just photographed!
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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
venezia2015.llull.cat
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
wroclaw2016.pl/biennale/
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
tnaf.ca
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
China Wall has formed along a major fault known as the Pilgrim Fault. The Mount Philp Breccia crosses 2km into the China Wall track from Ballara, which consists of fragments of metadolerite and some calcsilicate rocks in a matrix of albite (sodium feldspar) hornblende, and megnetite. It may have been produced by the mixing of two differing types of magma during either the Wonga or Williams events. It can be seen in some low cuttings.
Roundabout 4.7km into the China Wall track from Ballara is a creek crossing, about 250m upstream rocks seen in the creek bed are dark grey calcsilicates of the Corella Formation, but not far on these rocks are intruded by pink finegrained rock composed of pink feldspar and subordinate hornblende, which contains numerous fragments of dark-green to black metadolerite and some calc-silicates. This is the Mount Philp Breccia. Farther on a cream coarse-grained rock in the southern bank is a pegmatite that seems to have intruded the breccia. Calc-silicates again outcrop farther upstream but are also cut by dykes of the breccia.
China Wall itself becomes visible after a further 1.8km. It is another narrow ridge of quartz filling a major fault, and is about 400m long, up to 20m high and only about 1m wide in some places. The Pilgrim Fault has been active over a long period of time from the Proterozoic until at least the Cambrian. Here is separates the Corella Formation on the west from the Overhand Jaspilite on the east. The latter is starkly evident as large black outcrops of manganese-stained siltstone.
Source: Rocks and Landscapes of Northwest Queensland by Laurie Hutton and Ian Withnall.
Se recomienda ampliar. It is recommended to expand.
Formas. Pintadas por el Sol y el mar sobre las piedras de la playa, al atardecer.
Formed 1.5 billion years ago from a dome of molten magma, the large granite boulders at Elephant Rocks State Park resemble a train of pink elephants. The reddish or pink granite has been quarried in this area since 1869, and has provided red architectural granite for buildings all across the country, particularly in nearby St. Louis, Missouri. Stones unsuitable for architectural use were made into paving stones that were used on the streets of St. Louis, as well as the wharf along the Mississippi River. The granite from this area is commercially known as Missouri Red monument stone.
One of the largest boulders, named “Dumbo,” measures 27 feet tall, 35 feet long and 17 feet wide, tipping the scales at a hefty 680 tons.
Elephant Rocks State Park was created in 1967 following donation of the land by geologist John Stafford, and is managed by the Missouri Department of Natural Resources. It is located in Iron County, Missouri, and is part of the Saint Francois Mountains, which rise over the Ozark Plateau in southeastern Missouri. This mountain range is one of the oldest exposures of igneous rock in North America. The park has a one-mile paved Braille Trail designed for people with visual and physical disabilities.
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark Schuver.
The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver
.
Un film.
La Forme de l'Eau.
Treize nominations aux Oscars.
Une fable sous la forme d'un magnifique film !
Cela nous fait penser à la diversité, à l'amour au-delà des frontières,
aucune bête, aucune beauté, aucune sexiste ou féministe, pas tellement,
juste très attachant et très charmant !
Je sais, tu essaieras de résister,
mais finalement un jour vous regarderez
et vous ne serez pas capable de oublier.
Pour quelle raison ?
C'est un film dans une belle fable, que vous trouverez dans cette action,
pour se retrouver à si meme dans les profondeurs de votre perception.
Oui, vous pouvez,
dans le 21 février
au cinéma.
"C’est quand on arrive à ce que le public fasse Ahh!"
oui surprenant Réalisateur je suis d'accord
: ]
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L'art du cinéma nous surprend rapidement
et d'un côté à l'autre elle nous joue,
initialement esthétiquement et à la fin dans notre intériorité,
même dans nos plus profonds préjugés,
oui Chaplin avait raison, le cinéma est la vie en mouvement,
oui, labourer la terre à la fin de l'hiver comment
couper et doulers comme aussi sur vous,
mais les graines germent
toujours.
Oui, ne l'oublie pas mon ami(e).
: ]
Ivan
monochrome version
see also color version:
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Twig the Fairy in Mermaid form in a magical Underwater Cavern.
We both worked so hard to create this all new look. So hope you like it.
The size of a 40.000 year old tooth from the Denisova cave indicates a very tall individual, and artefacts found tell about
an unbelievable modern technology - including high speed drilling. The first kings of Egypt were called Gods, but they lived with the people and helped them to develop their civilisation. Many of the granite and basalt artefacts found in Egypt can only have been done by high speed drilling. Were these divine kings in fact Denisova hominins? Did they underestimate how fragile the eco-balance of our environment is, did they trigger a worldwide catastrophe that "capsized" the Earth and wiped them out?
Remnants of a previously unknown hominin, distinct from both early modern humans and Neanderthals,
were a few years ago found in the Denisova cave of southern Siberia: Denisova hominins. The bones and also artefacts excavated at the same level were carbon dated to around 40.000 BP. The scientists say these Denisovans had "modern technology and ornaments, including a very beautiful bracelet". Our archaic cousins the Denisova Hominins
A catastrophe in form of a flood that, according to the legends wiped out the Egyptian civilization that was developed by divine kings (Gods), shall have taken place more than 30.000 years ago. The finger bone, the large tooth and the artefacts found in the Denisova cave in the north-east Altai Mountains region are also dated to be more than 30.000 years old. The small bone belonged to a very young girl. A small bracelet of polished stone was also found, and since it was found in the same layer and dated to the same age; it might have belonged to her.
We can only speculate why the young girl was in the cave. Could it be that she was seeking shelter from a coming catastrophe, might be brought there by her mother or father? Or that she was washed into the cave by the raging wave of a tsunami - even if the cave today is 600 meters above sea level?
It seems that the first rulers of Egypt had a technology that was even more advanced than we have today; we are in fact unable to replicate many of the artefacts found. And it still is an open question how they managed to construct the Great Pyramid with its incredible precision and up to 70 ton's stones.
The archaeologists say that the ancient Egyptians used simple tools like bronze chisels and stone hammers but many of the items found, like basalt jars and also the so called sarcophagus in the Great Pyramid, cannot be made without high speed drilling with drill-bits harder than basalt and granite. The artefacts found in the Denisova cave, the bracelet with pendant, the eyed needles and other ornaments, also witness of a superior technology - and believe it or not: They had used hight speed drilling!
Not us homo sapien sapien
We do not know how the Denisova hominines looked but as mentioned: A tooth found in the cave was very large, so they might have been very tall. We know that people in the area surrounding the Altai Mountains in the 6th to 3rd centuries BC had a very advanced technology; a race of white skinned, blond, blue eyed and very tall people with Caucasian features and long skulls.
The divine kings, the "Gods", of Egypt were often depicted as white skinned, blond, blue eyed and very tall people with Caucasian features and a long skull. Were the "Gods" of the ancient Egyptian king-lists in fact Denisovans? Not us homo sapien sapien but our archaic cousins the Denisova Hominins?
We do not yet know what the Denisova hominins looked like but a Denisovan tooth found in the cave is the largest archaic homo species tooth found. Were the Denisovans the giants of the legends all over the world? Where they the first kings of Egypt - the divine Pharaohs? Did they have an advanced technology that later got lost, might be together with the Denisovans themselves, in a world wide catastrophe?
Global warming
Professor Gregory Ryskin at Northwestern University in Illinois, USA, has found that the long-term changes in the Earth's main magnetic field are possibly induced by our oceans' circulation. We know that global warming already has raised the temperatures of the oceans of the world and some scientists have proposed that this could disrupt thermohaline circulation (THC), which is a massive, worldwide system of ocean currents. We have already seen a change in some ocean currents, so a change in our Earth's magnetic field might already be happening! Might be this is why our magnetic poles are moving much more rapid than before! Scary stuff - because this could also mean a change in the Earth's gravity - and changes in gravitational forces will certainly affect the tectonic plates and with the continents on them. Might be this is the reason why we also experience more earthquakes than before?! Might be we should take Hapgood's conclusions and Heyerdahl's warning serious?
Did the Egyptian "capsize" the world - did they have technologies that could contribute to a sudden and rapid polar change? Might be because of and a change in the Earths gravity and/or magnetic field? Well, some say that the ancient Egyptians used the pyramids to create a unique form of energy. That they by paying special attention to celestial events, they could have used natural forces like static electricity, the Earth's magnetic field, and lightning.
Electric phenomenon
Sir William Seimens, a famous German born English inventor, travelled to Egypt and visited the Great Pyramid. While they were standing on the top, the guide remarked that when he raised his hand with his fingers spread, it caused an intense ringing noise in his ears. Sir William ventured a few tests, one by raising his arm with his index finger pointing, which he claimed caused a prickling sensation. He then drank some wine from a metallic cup which gave him a distinct shock. He was convinced he was witnessing some sort of electric phenomenon and instantly put this to the test by assembling a makeshift Leyden Jar, an apparatus for the storage of static electricity, by wrapping moistened newspaper around the wine bottle. The static charge at the peak of the pyramid was so high that sparks began to stream from the bottle. The guide was so shocked that he accused Sir William of witchcraft and tried to grab the bottle, but an electrical jolt knocked him unconscious.
A power plant?
Master craftsman and engineer Christopher Dunn argues that based on his measurements of Egyptian monuments, ancient stonecutting achieved a high-precision accuracy surpassing modern accuracy standards in building. He asked himself what was the power source that fuelled such a civilization and after twenty years of research, Dunn reveals that the Great Pyramid of Giza was actually a electrical power plant. Based on the technology of harmonic resonance, he claims that the pyramid was a large acoustical device! By its size and dimensions, this crystal edifice created a harmonic resonance with the Earth and converted Earth's vibrational energies to microwave radiation. He shows in his books and articles how the pyramid's numerous chambers and passageways were positioned with the deliberate precision to maximize its acoustical qualities.
Inventor Michael F. Praamsma partly agrees but he says that the Great Pyramid at Giza was "a sophisticated acoustical sound chamber that was used as a technique to generate natural sounds to create an elevated frequency environment confined to a single resonant physical cavity". He claims that the Great Pyramid was systematically and competently sealed, and that this was "a sign it was decommissioned and intended to be of use again at a future day, when the awakened humanity would restore it competently to its rightful function, unfortunately history went another way."
A California researcher, Peter Grandics, has shown how an antenna, modeled on the Great Pyramid of Giza, can transfer the power of atmospheric electrostatic discharge impulses into a resonant circuit that converts the random impulses into an alternating current as a potential source of renewable electric power. Thousands of terawatts of power are generated in the troposphere by thunderstorms and a pyramidal structure, with its optimal geometry and construction, can act as a suitable charge sink, capturing this electric.
A biological engineer named John Burke argues that the movement of underground water in limestone aquifers below monuments produces an electric current via friction and the rich magnetic dolomite content of the stone. Burke measured positive ground current at Silbury hill in England, an ancient pyramidal mound composed of chalk and clay that lies on top of such limestone bedrock riddled with zig zagging aquifers filled with rainwater. Such tunnels and water caverns lie beneath the Giza plateau as well. Abd'El Hakim Awyan, a native Egyptian archaeologist, attests to swimming in such tunnels during his youth on the Giza plateau.
Electric torches?
Another alternative theory is that the pyramids were wireless power plants used to generate electricity and for wireless communication. On the internet you will find a video where it is speculated that the Great Pyramid may have been powered by the Ark of the Covenant. The person behind the video is saying that murals inside tombs and temples show that the ancient Egyptians were using handheld electric torches powered by cable free power sources. It is believed that the so called sarcophagus inside the Great Pyramid has the exact dimensions, according to the Christian bible, to house the Ark of Covenant: That the pyramid with a capstone of gold and the covenant in place was a kind of super capacitor the could produce and store electric energy. It is also theorized that Moses stole the Ark of Covenant from the pyramid and took it with him out of Egypt. This should be the main reason for the downfall of the Egyptian pharaohs; without the electrics power their own power dwindled. This should have happened at the time of the pharaoh Ramses II.
Three engineers; Erica Miller, Sean Sloan and Gregg Wilson all agree on one theory: That the Great Pyramid acted as a huge nuclear breeder reactor, which produced Plutonium fuel by mediating uranium isotopes in water. Supposedly, the King's Chamber was flooded with a water pump, and the sarcophagus was packed with uranium ore.
Frenchman Antoine Bovis stumbled upon dead cats and mice that had been disposed of in the trash cans inside the Great Pyramid, and they were perfectly mummified - apparently automatically, without putrefying or giving off a stench. When Bovis returned to France he built a scale model of Khufu's monument, deposited a dead cat inside - and the Giza phenomenon repeated itself, the cat mummified without rotting. Karl Drbal of Czechoslovakia researched this further and said that this was due to the pyramid's special cavity that resonated with cosmic microwaves concentrated in the earth's magnetic field. He also hypothesized that the same concept would work for rusted shavers, and claimed the sharpness of the tools returned after lacing them in a scale model of the pyramid. Stanford Research Institute, however, carrying out experiments in the Great Pyramid, and found that biological samples deteriorated at normal rates within the structure.
Energy grid
Some researchers say that it not by chance that the Great Pyramid was built where it was. They propose that the Earth has a planetary energetic grid that operates through geometric patterns called Sacred Geometry. Grids meet at various intersecting points forming a grid or matrix. These grid points shall be found at some of the strongest power places on the planet. A planetary grid map outlined by the Russian team of Goncharov, Morozov and Makarov has an overall organization anchored to the north and south axial poles and the Great Pyramid at Giza.
It is said that the ancient people, including the Egyptians, knew that wherever the earth's energy gathered into a vortex was a sacred place. Very simular is the theory that the Earth has as net of electromagnetic lines, and that the intersecting points of the network, the knots, are influenced by underground veins of water as well as magnetic forces emanating naturally from the Earth. The ancient Egyptians are said to have been able to move and/or anchor the energy lines by pushing metal rods into the ground before they built a temple or pyramid - they shall have called it "piercing the snake".
Also what is called lay lines seems to be connected to an ancient grid of a form. According to Wikipedia; "Ley lines are hypothetical alignments of a number of places of geographical interest, such as ancient monuments and megaliths." Archaeologists have documented that the alignments are existing but it is not proved that the ley lines and their intersection points resonate a special psychic or magical energy or that they have electrical or magnetic forces as some writers claim.
Pyramid fortex using a Tesla coil
In addition to all this it is also said that we have high energy spots on the Earth called vortices - and they shall be linked ley lines. A Vortex (plural: vortices) is usually a spinning, often turbulent, flow of fluid but some also include a kind of spinning Earth energy due to its electromagnetic field. Such vortices can be volcanoes, high mountains, hot springs, mineral deposits, deep gorges, rock outcroppings and even in deserts like the Sinai. Ancient sites can also be vortices, like the pyramids of Egypt. Dr. Dee J. Nelson has taken a so called Kirlian photograph of energy spiralling out of the top of a pyramid using a Tesla Coil.
Nikola Tesla - Earthquake Machine
The Tesla Coil was invented by Serbian-American engineer Nikola Tesla (1856 - 1943), one of history's greatest scientists. His coil is an electrical resonant transformer circuit, used to produce high-voltage, low-current, and high frequency alternating-current electricity. Yes, he is best known for inventing the alternating electrical current (AC) used all over the world today, but his patents and theoretical work helped form the basis for radio comunication and many other inventions.
Nikola Tesla was an electrical genius, but he also was responsible for a number of mechanical devices. One of these was his "Earthquake Machine" also known as the Tesla Oscillator. The machine which Tesla tested was no larger than an alarm clock but it is said that when he started to twiddle the machine's frequency-controller in his lab: blocks around chaos reigned as objects fell off shelves, furniture moved across floors, windows shattered, and pipes broke. When the police arrived they found the inventor smashing the resonator to bits with a hammer: "Gentlemen, I am sorry. You are just a trifle too late to witness my experiment. I found it necessary to stop it suddenly and unexpectedly in an unusual way, he said calmly to the astonished officers.
Tesla was convinced that by finding the correct frequency, any structure can be destroyed (an obvious example is the wine glass shattered by an opera singer). He later told a friend that he could split the Earth with one of these devices: "I could set the earth's crust into such a state of vibration that it would rise and fall hundreds of feet, throwing rivers out of their beds, wrecking buildings, and practically destroying civilization".
Tesla and coils
Tesla claimed that the laws of electromagnetics were connected to gravity, and one of his patents was on a flying machine without wings or propellers but based on what he called electrogravitics. Tesla also was working on a generator that basically worked by harnessing the electricity from the air and the ground. He used the natural conductivity of limestone aquifers to generate electrical power. The power ran up the ground into the Tesla coil tower above, which in theory should channel wirelessly transmitted power over great distances. Since Telsa wanted the distribution of the energy to be free, the inventor's sponsor pulled out from funding the scientist's machine before it was completed. Tesla died a poor and disillusioned man.
His research station for transmitting power at Colorado Springs might have a link to the Great Pyramid - a notable harmonic association between the latitude positions of both sites. Coral Castle - 9-ton gate that moves with just a touch of the finger.
Edward Leedskalnin - Coral Castle
Another person that was interested in gravity and electromagnetism was Edward Leedskalnin (1887-1951) - an eccentric Latvian emigrant to the United States. He built the extraordinary monument known as Coral Castle in Florida. Leedskalnin single-handedly and secretly carved and displayed over 1,100 tons of coral rock, the heaviest stone weighing 35 tons. It is a mystery how the tiny man could move all the heavy stones. He claimed to have discovered the secrets of the pyramids, and had found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons! But he did not want to show
"I have discovered the secrets of the pyramids, and have found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons!"
- Edward Leedskalninanybody how it was done and worked mostly at night-time. A group of young witnesses claimed to see coral blocks floating through the air "like hydrogen balloons" and another time one of Ed's neighbours found him singing to the stones with his hands placed on their surface as if he were somehow making them lighter.
Ed Leedskalnin disputed contemporary science and believed that "all matter consists of magnets which can produce measurable phenomena, and electricity." Ed would say he had "re-discovered the laws of weight, measurement, and leverage," and that these concepts "involved the relationship of the Earth to celestial alignments."
Researchers have speculated that Ed Leedskalnin learned the secret of levitation and one theory in particular caught the imagination of many. The planetary grid hypothesis postulates that the earth is covered by an invisible web of energy which is concentrated at points of telluric power, the convergence of which create unusual phenomena. Leedskalnin moved the complex from Florida City to Homestead and some suggest this was because Ed realized he had made a mathematical error in his original positioning and moved to an area with greater telluric force.
The famed American psychic Edgar Cayce (1877-1945) said during his readings that the Great Pyramid "was erected by the application of those universal laws and forces of nature which cause iron to float. By the same laws, gravity may be overcome, or neutralized, and stone made to float in air. The Pyramid was thus built by levitation, abetted by song and chanting". He also said that the Great Pyramid was built was built as a hall of initiation around 10,500BC by those who originally came from the civilization of Atlantis.
Levitation by sound
Metal rods that caused the stone to levitate
The current estimates of mainstream science contends that it took a workforce of 4,000 to 5,000 men 20 years to build the Great Pyramid using ropes, pulleys, ramps, ingenuity and brute force. But the 10th century Arab historian, Abul Hasan Ali Al-Masudi had written a 30-volume history of the world and he wrote about how the great stone blocks of the pyramid were transported. First, he said, a "magic papyrus" was placed under the stone to be moved. Then the stone was struck with a metal rod that caused the stone to levitate and move along a path paved with stones and fenced on either side by metal poles. The stone would travel along the path, wrote Al-Masudi, for a distance of about 50 meters and then settle to the ground. The process would then be repeated until the builders had the stone where they wanted it.
An ancient legend tells that The Great Pyramid was built from year 10,490 to 10,390 B.C. That the god Ra made studies of the terrain and took great care in figuring the geometrical location in relation to the Sphinx and the four cardinal points of the compass. The Pyramid was then built by levitation, abetted by song and chanting.
Well, we do not have any proof that the ancient Egyptians could make the huge stones fly through the air but levitation is no longer only a party-trick by magicians with quick fingers. We have high speed trains that levitate by the help of magnetic power and in an incredible move for modern medicine; scientists are using sound waves to help levitate droplets of drugs to make them with less side effects.
A kind of Swiss knife
The Great Pyramid is very different to other pyramids, in Giza or else. Most alternative researches conclude that it was some kind of machine; most possibly a power station. We have seen that it would be impossible to use the Great Pyramid as a tomb for a pharaoh and that dating of seashell tells that it much older than the other pyramids. The nearby sphinx has been re-dated to be at least 5000 years old because of the erosion from water, but it might be much older. The same will go for the Great Pyramid. Some speculate that the Great Pyramid was a kind of Swiss knife - a gigantic multipurpose tool. The world "pyramid" means "fire in the middle" - so if it was a kind of power station with the power source situated in what is called Khufu's sarcophagus the some researches in one way might be correct when that speculate that the pyramid also was built as a gigantic ram water pump - inside the base of the pyramid. Yes, it could have been a power-station with a water cooling system! We have seen that some say that the power source was the ark of covenant from the Christian bible and some say
The King's Chamber with the stones above
King's Chamber and large stones
that Moses was the person who stole it from the pyramid. That the pharaohs' rapid decline took place because with no more energy, in form of electric power, then their advanced civilisation could no longer exist!
A gigantic Tesla coil?
Or might be the Great Pyramid was a kind of a gigantic Tesla coil? That the huge granite stones, highly polished on the underside and placed above the so called Kings chamber, made it possible to harness electricity from the ionosphere - just like Nikola Tesla wanted to do it?
About 20 minutes drive from the Great Pyramid is the site of Abu Ghurab, the "Place of Osiris". The ruined stepped pyramid once had an alabaster platform on the top and on the platform it had been standing an obelisk ("sun stick"); most likely, the total height was between fifty and seventy meters. It had looked like a pyramid with a flat top, just like Great Pyramid! Is it possible that the Great Pyramid once had an obelisk standing on it's flat top - and not a capstone? The legends says that spirit of the sun god entered the obelisks at certain periods…
Could it have been like this - an obelisk on top of the Great Pyramid?
Can it have been like this?
Tesla viewed the Earth as a negative electric pole and the sun as a positive pole of an electrode; so an obelisk standing on top of a pyramid would to him be a solar-electric diode! If the under ground part of the pyramid was a pump that brought water up to the Kings Chamber then we would have a capacitor with a very good earth ground. Yes, the Great Pyramid could have been an extremely powerful kind of solar-panel!
Might be Tesla got the idea of harnessing the ionosphere from the Egyptians? Might be they had made the strongest power station ever but that something went terribly wrong; a technical fault or a construction-fault? Or might be extra strong solar activity? Stephen A. Reynods of New Zealand has done research showing that changes in the ionosphere caused by strong solar activity can cause changes in the Earth's internal magnetic field and through telluric current induced in the Earth's crust trigger earthquakes. So might be it happened that instead of harnessing high voltage that could be stored and used, the pyramid send the current into the ground and
The God Ptah with a Djed pillar
Ptah and pillar
triggered a gigantic earthquake that literally shook the whole Earth and caused geological catastrophes worldwide? Might be the changes to the internal magnetic field was so fast and so strong that the outer crust slipped - just like professor Charles H. Hapgood once suggested (but not due to imbalance of the polar ice)?
Interesting enough; one of the oldest and most important symbols to the ancient Egyptian was the "Djed Pillar". Take a look at the image to the right of the God Ptah holding a Djed pillar. The pillar looks very simular til the set-up of the stones above the Kings Chamber - and also a homemade Tesla coil! You might also have noticed a Djed pillar in picture of what could illustrate an electric lamp in an ancient Egyptian temple, higher up in the article!
Very advanced technology
In the Palermo, Turin and Manetho king lists, there are names of eight god kings that ruled Egypt in the beginning; Ptah, Ra, Geb, Osiris, Set, Horus, Thoth and the female god Ma'at. Even if they sometimes were represented in a variety of forms on murals, often with human body and animals/birds heads, these gods seemed to be something else than imaginary gods living in a theological heaven. They lived on earth, were married with children, and had duties they performed. They also helped the ordinary people to develop. We have seen that Ptah made the Nile-delta liveable after the great flood and Thoth is credited as the author of all works of science, religion, philosophy as well as magic and he is said to have been married with the female god and ruler Ma'at.
Pharaoh Can it be that the first kings of Egypt were called Gods because they came from a far away place and looked a bit different to the other humans in ancient Egypt? The word "God" comes from "shining/bright" and murals picturing the first pharaohs/gods show that they had so white skin that the must have looked very bright compared to other people! Were they also called devine because they had much better mental capabilities and a very advanced technology?
www.sydhav.no/giants/denisova_giants_egypt.htm
Dendera light
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The dendera light
The dendera light is a motif in the Hathor temple at Dendera in Egypt. A fringe theory interpretation of the reliefs is that they depict some form of ancient Egyptian lighting technology, similar to an arc lamp or cathode ray tube.
The temple contains several reliefs depicting Harsomtus, in the form of a snake, emerging from a lotus flower which is usually attached to the bow of a barge. The so-called dendera light is a variation of this motif, showing Harsomtus in an oval container called hn, which might represent the womb of Nut.[1][2][3] Sometimes a djed pillar supports the snake or the container. A closely related motif is "god resting on the lotus flower".
Contents
1Depictions and text
2Similar motifs
3Fringe interpretation
4See also
5References
6External links
Depictions and text
Each of the three objects consists of two reliefs. One half (a) of each pair is in south crypt 1-C (crypte 4), the other half (b) in room G (chambre V) of the temple.[3]
Object
(location)
TextRelief
Object 1(a)
(Crypt 1-C, south wall)
Speaking the words of Harsomtus, the great God, who dwells in Dendera, who is in the arms of the first in the night-barge, sublime snake, whos Chentj-statue carries Heh, whos crew carries in holiness his perfection, whos Ba caused Hathor to appear in the sky, whos figure is revered by his followers, who is unique, encircled by his forehead-snake, with countless names on the top of Chui-en-hesen, the symbol of power of Re in the land of Atum (Dendera), the father of the Gods, who created everything.
Gold his metal, height: four handbreadths
(left)
Object 2(a)
(Crypt 1-C,
south wall)
Speaking the words of harsomtus, the great God, who dwells in Dendera, the living Ba in the lotus flower of the day-barge, whos perfection is carried by the two arms of the djed-pillar as his Seschemu-image, while the Kas on their knees bend their arms.
Gold and all precious stones, height: three handbreadths
(right)
Object 3(a)
(Crypt 1-C,
north wall)
Speaking the words of harsomtus, the great God, who dwells in Dendera, who emerges out of the lotus flower as a living Ba, whos completeness is elevated by the Kematju-images of his Ka, whos Seschemu-image is revered by the crew of the day-barge, whos body is carried by the djed-pillar, underneath his Seschemu-image is the Primal and whos majesty is carried by the companions of his Ka.
Gold, height: one cubit
Denderah. Grand temple. Crypte no. 4 (NYPL b16461786-1548062) (lower).jpg
Object 1(b)
(Room G,
south wall)
Harsomtus in the hn-container of the night-barge that contains four figures. The figure of heh is in front of him, whereas this flower is behind him, the water beneath him.
Gold his metal, height: four handbreadths.
Denderah. Grand temple. Chambre V (NYPL b16461786-1547977) (lower).jpg
Object 2(b)
(Room G,
north wall)
Harsomtus on his barge
Gold and all precious stones, height: three handbreadths
(left)
Object 3(b)
(Room G,
north wall)
Harsomtus of Upper- and Lower Egypt, the Sata-snake, that emerges from the flower, which contains the hn-container, who is flanked by four figures with human faces, under his head the figure of Heh on the Serech on the bow of his barge. The Juf-monkey with the face of a toad, armed with knives, is in front of him, as are the two figures that carry the front part of this flower.
(right)
Similar motifs
Denderah. Grand temple. Chambre V (NYPL b16461786-1547977) (upper).jpg
Denderah. Grand temple. Crypte no. 4 (NYPL b16461786-1548061) (Harsomtus).jpg
Denderah. Grand temple. Chambre V (NYPL b16461786-1547978) (upper).jpg
Denderah. Grand temple. Crypte no. 1 (NYPL b16461786-1548026) (harsomtus).jpg
Denderah. Grand temple. Chambres de la terrasse. Osiris du sud. Chambre no. 3 (NYPL b16461786-1548166) (cropped).tiff
NaqaLionTempleApedemakSnake.jpg
Fringe interpretation
In contrast to the mainstream interpretation, a fringe theory proposes that the reliefs depict Ancient Egyptian technology, based on comparison to similar modern devices (such as a Cathode-ray tube, Geissler tubes, Crookes tubes, and arc lamps). J. N. Lockyer's passing reference to a colleague's humorous suggestion that electric lamps would explain the absence of lampblack deposits in the tombs has sometimes been forwarded as an argument supporting this particular interpretation (another argument being made is the use of a system of reflective mirrors).[4] Proponents of this interpretation have also used a text referring to "high poles covered with copper plates" to argue this,[5] but Bolko Stern has written in detail explaining why the copper-covered tops of poles (which were lower than the associated pylons) do not relate to electricity or lightning, pointing out that no evidence of anything used to manipulate electricity had been found in Egypt and that this was a magical and not a technical installation.[6]
Archaeologist and debunker Kenneth Feder argued that if ancient Egyptians really had such advanced technology, some light bulb remains (glass shards, metal sockets, filaments...) should have been discovered during archaeological excavations. By applying Occam's razor, he instead highlighted the feasibility of the aforementioned reflective mirrors system, and also that the notion of adding salt to torches to minimize lampblack was well known by ancient Egyptians.[7]
See also
Egyptian mythology
References
"Dendera Temple Crypt Archived 2010-04-25 at the Wayback Machine". iafrica.com.
Wolfgang Waitkus, Die Texte in den unteren Krypten des Hathortempels von Dendera: ihre Aussagen zur Funktion und Bedeutung dieser Räume, Mainz 1997 ISBN 3-8053-2322-0 (tr., The texts in the lower crypts of the Hathor temples of Dendera: their statements for the function and meaning of these areas)
Waitkus, Wolfgang (2002). "Die Geburt des Harsomtus aus der Blüte Zur Bedeutung und Funktion einiger Kultgegenstände des Tempels von Dendera". Studien zur Altägyptischen Kultur. 30: 373–394. JSTOR 25152877.
Press, The MIT (15 May 1973). The Dawn of Astronomy | The MIT Press. mitpress.mit.edu. MIT Press. ISBN 9780262120142. Retrieved 2020-10-06.
Bruno Kolbe, Francis ed Legge, Joseph Skellon, tr., "An Introduction to Electricity". Kegan Paul, Trench, Trübner, 1908. 429 pages. Page 391. (cf., "[...] high poles covered with copper plates and with gilded tops were erected 'to break the stones coming from on high'. J. Dümichen, Baugeschichte des Dendera-Tempels, Strassburg, 1877")
Stern, Bolko (1998) [1896]. Ägyptische Kulturgeschichte. Reprint-Verlag-Leipzig. pp. 106–108. ISBN 978-3826219085.
Feder, Kenneth H. (2014). Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology. New York: McGraw-Hill. ISBN 978-0-07-803507-4., pp.225–7
External links
Wikimedia Commons has media related to Dendera light.
The Dendera Reliefs, Catchpenny Mysteries.
Frank Dörnenburg, Electric lights in Egypt?. 2004.
Mariette, Auguste (1870) - Dendérah: description générale du grand temple de cette ville (II: 48, 49; III: 44, 45)
Coordinates: 26.141611°N 32.670139°E
Categories: EgyptologyOut-of-place artifactsPseudoarchaeology
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en.wikipedia.org/wiki/Dendera_light
The ancient Egyptian Dendera Light "protective magical energy in liquid form" is the evaporative cooling fog. The fact that the Dendera Light is made of liquid water that transforms itself in a magical way, is exactly what are describing ancient Egyptians themselves : [About the snake inside the Dendera Light Bulb] "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess (Faulkner 1970*)." ahotcupofjoe.net/2016/11/dendera-light-bulb-and-bagdad-ba...
*I'm not sure, but the excerpt might be from "The ancient Egyptian book of the dead / translated by Raymond O. Faulkne ; edited by Carol Andrews, 1972."
www.milleetunetasses.com/blog/the-great-pyramid-of-khufu-...
Evaporative cooling for the sodium carbonate manufacturing
My study is based on 2 key elements : the first one is the cold production inside the horizontal passage of the Great Pyramid ; and the second one is the production of sodium carbonate (pure natron), as suggested by the Red Pyramid.
The ammonia still present inside the Red Pyramid, indicates that they were using a sodium carbonate process identical or very close to the ammonia-soda process known as the Solvay process, developed into its modern form in the 1860s in Europe.
In the Solvay process, the ammonia only has a minor role ; but inside the Red Pyramid, my guess is that they didn't control the temperature of the different chemical reactions inside the Solvay towers. They couldn't cool down the towers.
That is the reason why they engineered the visible part of the Great Pyramid : to produce cold inside the horizontal passage, store it inside the Queen's chamber, and transfer it to the sodium carbonate production towers, passing through the Queen's chamber shafts.
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A fotografia de Mário Silva capta de forma precisa e esteticamente agradável a beleza do cogumelo “Boletus aereus”, popularmente conhecido como tortulho.
A profundidade de campo, com o foco nítido no cogumelo e o fundo ligeiramente desfocado, isola o sujeito e realça as suas características distintivas.
A luz natural, que incide suavemente sobre o chapéu do cogumelo, ressalta as suas tonalidades castanhas e a textura aveludada.
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O enquadramento da fotografia é outro ponto forte, com o cogumelo posicionado de forma central e rodeado por um ambiente natural que sugere o seu habitat.
A presença de ramos espinhosos no fundo acrescenta um toque de contraste e realça a forma arredondada e a textura do chapéu do cogumelo.
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O “Boletus aereus” desempenha um papel fundamental no ecossistema, estabelecendo relações simbióticas com árvores como o carvalho e a azinheira.
Através das suas hifas, o fungo explora o solo, absorvendo água e nutrientes que transfere para a árvore, facilitando o seu crescimento. Em troca, a árvore fornece ao fungo compostos orgânicos essenciais para a sua sobrevivência.
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Além da sua importância ecológica, o “Boletus aereus” é altamente valorizado na gastronomia pelo seu sabor intenso e textura firme.
É considerado um dos cogumelos silvestres mais apreciados e é utilizado em diversas preparações culinárias, desde simples acompanhamentos até pratos mais elaborados.
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Para ajudar na identificação correta deste cogumelo, é importante conhecer as suas principais características:
Chapéu: Arredondado, com a superfície aveludada e de cor castanho-escura, quase negra.
Poros: Pequenos e arredondados, inicialmente brancos e posteriormente adquirem tons amarelados.
Pé: Robusto, com forma de clava e coloração amarelada, com uma rede de veias mais escuras.
Carne: Branca e firme, com um ligeiro odor frutado.
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Observação: É fundamental ter em mente que a identificação de cogumelos silvestres requer conhecimento especializado, uma vez que existem espécies tóxicas que podem ser facilmente confundidas com o “Boletus aereus”.
Recomenda-se vivamente a consulta de um especialista em micologia ou a participação em atividades guiadas por pessoas experientes antes de consumir qualquer cogumelo silvestre.
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Em conclusão, a fotografia de Mário Silva captura a beleza e a importância do “Boletus aereus”, um cogumelo que encanta tanto pela sua estética quanto pelo seu valor ecológico e gastronómico.
A imagem é um convite à exploração da natureza e à descoberta da rica biodiversidade que nos rodeia.
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Texto & Fotografia: ©MárioSilva
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This Chandra image shows the Carina Nebula, a star-forming region in the Sagittarius-Carina arm of the Milky Way a mere 7,500 light years from Earth. Chandra's sharp X-ray vision has detected over 14,000 stars in this region, revealed a diffuse X-ray glow, and provided strong evidence that massive stars have already self-destructed in this nearby supernova factory.
The lower energy X-rays in this image are red, the medium energy X-rays are green, and the highest energy X-rays are blue. The Chandra survey has a large field of 1.4 square degrees, made of a mosaic of 22 individual Chandra pointings. In total, this image represents 1.2 million seconds -- or nearly two weeks -- of Chandra observing time. A great deal of multi-wavelength data has been used in combination with this new Chandra campaign, including infrared observations from the Spitzer Space Telescope and the Very Large Telescope (VLT).
Several pieces of evidence support the idea that supernova production has already begun in this star-forming region. Firstly, there is an observed deficit of bright X-ray sources in Trumpler 15, suggesting that some of the massive stars in this cluster were already destroyed in supernova explosions. Trumpler 15 is located in the northern part of the image, as shown in a labeled version, and is one of ten star clusters in the Carina complex. Several other well known clusters are shown in the labeled image.
The detection of six possible neutron stars, the dense cores often left behind after stars explode in supernovas, provides additional evidence that supernova activity is ramping up in Carina. Previous observations had only detected one neutron star in Carina. These six neutron star candidates are too faint to be easily picked out in this large-scale image of Carina.
Credit: NASA/CXC/Penn State/L. Townsley et al.
Read entire caption/view more images: chandra.harvard.edu/photo/2011/carina/
Caption credit: Harvard-Smithsonian Center for Astrophysics
Read more about Chandra:
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
Twemlow viaduct, Holmes chapel, Cheshire Uk - Today the viaduct's 23 brick arches, soaring 105 feet above the valley and spanning a total of 1,794 feet, are a monument to the working man's resilience, determination, ingenuity and sheer hard graft.
Over a two-year period in the 1840's, more than 500 navvies helped to build this impressive industrial structure with basic tools and the sweat of their brows.
NASA’s James Webb Space Telescope just solved a conundrum by proving a controversial finding made with the agency’s Hubble Space Telescope more than 20 years ago.
In 2003, Hubble provided evidence of a massive planet around a very old star, almost as old as the universe. Such stars possess only small amounts of heavier elements that are the building blocks of planets. This implied that some planet formation happened when our universe was very young, and those planets had time to form and grow big inside their primordial disks, even bigger than Jupiter. But how? This was puzzling.
To answer this question, researchers used Webb to study stars in a nearby galaxy that, much like the early universe, lacks large amounts of heavy elements. They found that not only do some stars there have planet-forming disks, but that those disks are longer-lived than those seen around young stars in our Milky Way galaxy.
This is a James Webb Space Telescope image of NGC 346, a massive star cluster in the Small Magellanic Cloud, a dwarf galaxy that is one of the Milky Way's nearest neighbors. With its relative lack of elements heavier than hydrogen and helium, the NGC 346 cluster serves as a nearby proxy for studying stellar environments with similar conditions in the early, distant universe. Ten, small, yellow circles overlaid on the image indicate the positions of the ten stars surveyed in this study.
Credit: NASA, ESA, CSA, STScI, Olivia C. Jones (UK ATC), Guido De Marchi (ESTEC), Margaret Meixner (USRA)
#NASAMarshall #NASA #JWST #NASAWebb #NASAGoddard #galaxy