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Dead Dolls - We who are not as others Tattoo EvoX 4KHD - TOKYO ZERO Event
Tiny Blep - Summer Stripe Kini - TOKYO ZERO Event
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IMPACTS - Short Billi
ENZO/JAKE/GIAN/ATHL/KARIO
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Huffington Post post about Billy Gomez.
The translation of the text that appears in the blog (which you can read below) is the work of Mark Donnelly . A great thank you to Mark for always looking for the best translation and to Billy Gomez for his great work and collaboration.
Don´t forget that you can share this on facebook, tweet, mail, subscribe etc…
Shadow Hunter
There are methodical photographers who dedicate hours to every photo controlling every little detail of light and composition. On the opposite side there are those who armed with their cameras are hungry for images like a hunter looking for his prey. They don’t know where nor when they’ll find this image. They’re not familiar with the place, the light or “the model”. But at any given time they’ll stumble upon it and shoot without thinking twice, feeling the rush of the hunter becoming the hunted.
Billy Gómez belongs to this lineage of camouflaged, instinctive, risk-taking, quick draw and crack shot photographers. He has become a creative and active witness of the streets of Seoul. Its inhabitants are the driving force behind his work with their hectic routines, their depression and loneliness etched on their faces. The metro, train and the streets are his usual scenes. As in this image, the people he photographs are alone, lost in thought and with an expression of defeat almost as if they were prisoners to a life they hadn’t dreamt of. They look through the windows with their imagination trying to escape but all they find are others like them who are just as lonely and lost.
Billy is aware of the fact that with his camera he is going to steal sad and intimate moments in public places with no previous permission and this has its risks. However this also turns the moment of capture into something exciting, disturbing and unpredictable. With his sensitive and lyrical voyeurism he turns everything he sees into art.
He develops his photographs in a way to increase the loneliness of the lives of the human beings he portrays. By adding a vignette to every one of his subjects and darkening the borders it seems like they are surrounded by shadows. With his camera he immortalizes these sad inhabitants and it can be said that his voyeurism of anonymous men and women is taxidermal.
Billy Gómez (Los Angeles, 1971)
Born in America he moved to Seoul in 2005 to teach English. His job leaves him with a lot of free time and soon he decides to make the most of it by taking photographs. After a few years of fooling around, experimenting and searching he starts to define his style - a combination of voyeurism and spontaneous portrait. The result is a lucid and sad x-ray of a city, Seoul and its inhabitants.
With a telephoto lens, a 50mm and lately an iPhone that allows him to go unnoticed, he hits the streets in search of the right light and perfect moment. Not being able to control light as one would in a studio makes post-production more laborious. The search for the right light is now one of this visual poet’s priorities in the streets of Seoul. A hunter of light and above all shadows.
rare & beautiful case of a well done double spread.
shot by Ji Hyuk Park
W magazine
more pics from JHP
english.chosun.com/w21data/html/news/200702/200702280033....
a friend sent me this a while back,
something from 2005 at www.wwd.com
sorry they didn't tell me the exact page it came from.
How a cover shoot happens
What does it take to produce a magazine cover? Well, start with $100,000. Considering the many expenditures involved, that’s almost a minimum budget for creating a memorable image. From the basics of a studio photo shoot to the extravagant requests celebrities often make on location, here’s a look at what’s behind those coy smiles on the newsstand.
BOOKING CELEBRITIES
In the earliest stages of planning a magazine issue, a special projects or entertainment editor will approach a potential cover subject. This initial outreach typically happens two to eight months before the shoot, though major stars are often sought out for covers more than a year in advance.
“We approached [the Olsen twins] a year and a half before the shoot,” said Allure editor in chief Linda Wells, of her May 2004 cover. “Everyone thought I was crazy at the time because they were still doing tween movies. But we pegged it to their 18th birthday, and it ended up being one of our bestsellers.”
“It depends how much competition there is over them and their project,” said Teen Vogue editor in chief Amy Astley. “For peace of mind, I like to have covers booked a little ahead.…But a lot of [celebrities] like to leave their options open now, so it’s hard.”
Once the celebrity has signed on, the star’s publicist and the magazine then haggle over various contract riders. These are additional requests made by the star and might include, but are not limited to, the type of transportation and accommodations provided by the magazine, what kind of motor home will be available if the shoot is on location, extra space for the star’s privacy, the names of hair and makeup artists the star would prefer to use, specific food requests for catering and stipulations that publicists and/or bodyguards be brought to the shoot at the magazine’s expense.
“Usually, it’s not just a diva-esque request,” Wells said diplomatically. “There might be an awkward history [with a stylist or a writer], or there’s been some violation of trust.” However, she added, “Sometimes we’ve had celebrities ask for their own hair and makeup people.…When we’ve bent the rules and acquiesced, it usually hasn’t yielded the best results.”
Since top hair and makeup people can charge upward of 10 times the standard editorial rate of $200 to $250 per day, upgrading can be an expensive request to indulge. However, when a star insists on bringing in his or her own team, the studio behind the project the celebrity is promoting will sometimes step in to defray costs.
INSPIRATION
Shortly after the cover is booked, someone from the magazine talks to the celebrity or the celebrity’s publicist about the direction of the shoot. Photographers are discussed, as are styles of clothing and locations that might be used. If the celebrity favors certain designers or has a cosmetics contract, those relationships are disclosed. Also discussed are styles and designers the star prefers not to wear, angles at which he or she prefers not to be shot and body parts he or she does not want shown. Independently, the editor in chief and art and/or photo directors will meet to discuss what they want from the cover image.
“We look to see what’s been done before, all the covers [the celebrity has] done, who’s photographed them. Are they comfortable posing in front of the camera? Are they comfortable moving their bodies?” said Laurie Kratochvil, the photo director of In Style. “We look at our last few covers. Have we done a tight headshot? Have we done a full body?….For a while, we were doing very much a head and shoulder thing, which got a little boring.” Now, celebrities appear on In Style’s mostly white backgrounds shot over the shoulder, in the “crouching starlet” pose or just sitting on the floor.
Then a photographer is booked. Most magazines have a select group they use for covers. At some titles, the photographers are on contract and are paid a flat fee for their work — anywhere from five to seven figures annually. Other companies simply have a verbal understanding with their photographers and pay them on a daily and/or per-page basis.
High-profile photographers often have a great deal of say in creating the cover image, and they also have their own sources of inspiration. Just as fashion designers consult vintage stores like What Comes Around Goes Around, and chefs frequent Bonnie Slotnick’s cookbook shop, many photographers look to Gallagher’s Fashion and Design magazine archive in Manhattan’s East Village for ideas. The influence of images past is sometimes barely perceptible. In other cases, such as in Esquire’s November 2003 cover with Britney Spears, which re-created a classic 1966 Angie Dickinson pose, the photographer makes an overt homage.
“Nothing ever dies in fashion,” said Michael Gallagher, magazine archive owner. “It just comes back around. Art directors are the worst — they copy too much sometimes. But when it works, it works. Why not re-create something beautiful and put your own spin on it?”
MODEL COVERS
Should the publication so choose — or should, say, a celebrity cancel at the last minute — a model might be booked for the cover instead. Models are reserved anywhere from a few months in advance to just days before the shoot. The going rate for editorial work is $225 a day plus 10 percent to the model’s agency — even for supermodels such as Daria Werbowy, Karolina Kurkova and Liya Kedebe, who is currently on the May cover of Vogue.
“[Editorial work] is not going to pay the same rate as selling jewelry or cosmetics [in an advertising campaign],” said Ivan Bart, senior vice president of IMG Models. “But doing covers leads to other opportunities.…In the same way that Julianne Moore does a magazine cover to promote a film, models are on covers to promote their interests, too.”
LOGISTICS
About a month before the shoot, a photo editor from the magazine reserves a studio space — usually Milk or Pier 59 in New York or SmashBox or Quixote in Los Angeles — or hires an outside producer to begin scouting and coordinating locations.
“When the editor or photographer comes to me, there’ll generally be an overall idea of where the shoot should be, what the clothes are and who the subject is,” said Victoria Brynner, an executive producer with Stardust Visions, a production company based in Los Angeles. “We’ll scout locations and post our pictures on a Web site, so that everybody — the photographer, the editor, the stylist — has a chance to take a look and decide which location is most appropriate.”
Prop stylists, hair and makeup people, a manicurist and a caterer are put on hold, as are any other extras that might be used — say, the lions that appeared with Drew Barrymore in the April Vogue cover shoot. The photo editor or independent producer also books all necessary travel arrangements, accommodations and limousine services. A few days before the shoot, call sheets are sent out to everyone who will be attending, and anyone at the magazine who might need to reach someone on set.
THE CLOTHES
Shortly after the direction is established, the fashion editor and stylist working on the story begin assembling inspiration boards of runway shots and photos. At least three weeks before the shoot, market editors begin calling in clothes and accessories for consideration. A run-through is scheduled, and more clothes are called in if necessary. Once the looks have been picked, all items are sent to the location. If the clothes have to fly, they are usually accompanied by a stylist’s assistant. Since celebrities are typically not sample size, there will often be a fitting the day before so that clothes can be altered to fit the cover subject’s frame. If that doesn’t work, often designers will offer clothes straight from the racks of their stores.
THE SHOOT
The photographer and crew are usually the first to arrive and set up. If a set needs to be built, it’s constructed.
The caterers get there to set up for breakfast and lunch.
“I think there are a lot of misconceptions about photo shoots and models and celebrities,” said Pam D’Orazio, who owns Palma in the West Village and caters many magazine shoots in New York. “People think they don’t eat dessert — they love dessert.” And some love it so much they make special requests. One star’s manager is known for calling ahead and asking for specific dessert recipes. If there are any leftovers, he’s apparently not shy about taking them home.
Hair and makeup people come in an hour or two before the celebrity, who is the last person to arrive on set. While most celebrities have cars in Los Angeles, and many have homes just blocks from the two major studios in New York, few stars offer to get themselves to and from a shoot. Notable exceptions are Julianne Moore, who has been known to walk to locations in New York, and Jennifer Aniston, who frequently drives herself to shoots in Los Angeles. (Uma Thurman, on the other hand, reportedly prefers to be chauffeured, even if it’s just a few blocks.)
If the shoot is not in New York or Los Angeles, chances are everyone has to be flown to the location. A-list celebrities, top photographers and top editors and stylists are almost always flown first class. B-list stars, assistants, hair and makeup people and publicists fly coach and must upgrade on their own. While most magazines will only make commercial flight arrangements, there have been instances where celebrities have requested and gotten private jet and helicopter flights to “save time” on a cover shoot.
LAYING OUT THE COVER
Within a week, contact sheets from the photographer arrive at the magazine. Film is picked by the art and photo departments and the editor in chief. A print order is made and the retouching and color correcting process begins, which can take up to two weeks. Most magazines and photographers use Box Studios in New York. Simultaneously, an editor in chief and other editors at the magazine generate cover lines, while the art department uses scans from the original contact sheets to mock up versions of the cover. While stars often ask for photo approval, it’s rarely ever granted. However, many celebrities and models are able to see polaroids during the shoot and can make objections if something looks off to them then.
COVER TESTING
Once the editor in chief has narrowed down the possibilities, two to five potential covers are tested, typically by an outside vendor using an e-mail survey. The vendor sends an e-mail blast to people who are asked to rate cover lines and images. Within 48 hours, the editor in chief receives the results of the test and makes his or her final decisions about which image and cover lines to use for the issue.
While some editors argue cover testing limits the creative process, its devotees say the opposite is true. Astley ended up going with a riskier cover choice for the June issue of Teen Vogue in part because of cover tests. “We had lots of different options that were all fairly conventional, with [cover subject Lindsay Lohan] just sitting there,” said Astley. “We thought here at the magazine that the image with her eyes closed was fun and different, but we didn’t know if it would work. The feedback we got [from kids through testing] just helped us follow our convictions.”
THE COVER SHIPS
Once the cover has been finalized, the image is sent to the printing plant — typically located in some far off, glamorous locale like Baraboo, Wisc., or Dyersburg, Tenn. — in an electronic file, along with a color proof. Depending on the magazine, someone from production may go with the magazine to the plant. It takes roughly two weeks to print and bind the issue. Within seven days after the issue is bound, magazines arrive on newsstands and in subscribers’ mailboxes. And then, of course, the process begins all over again.
***
Juuichimen Kannon 十一面観音
Sk: Ekadasamukha. Eleven-headed Kannon; a form of *Kannon 観音 with eleven miniature faces around the top of his head. One of the Six Kannon *Roku Kannon 六観音 and responsible for the human realm. In painting and sculpture, Juuichimen Kannon may be shown seated or standing, but standing images are more common, especially in sculpture. The deity usually is shown with two arms, although sometimes with four. When two armed, he usually carries a water jar with a lotus in his left hand which makes a mudra of the absence of fear *semui-in 施無畏印, and with his right hand makes the mudra of the granting of wishes *yogan-in 与願印. The number of faces is usually eleven, though this number may or may not include the main face of the image (thus making the total number eleven or twelve). A form with nine faces, Kumen Kannon 九面観音 also exists (ex. 8c *danzou 檀像 in Houryuuji 法隆寺). The placement of the heads varies. Bodhisattva heads bosatsumen 菩薩面 are situated in either one or two tiers with the head of a Buddha butsumen 仏面 at the top. The faces of the bodhisattvas usually include three benign faces jihimen 慈悲面, three angry faces shinnumen 瞋怒面, three plain faces with fangs kugejoushutsumen 狗牙上出面; also known as gejoushutsumen 牙上出面 and, at the back, a laughing face daishoumen 大笑面; also known as bouaku daishoumen 暴悪大笑面, daibakushoumen 大爆笑面. A small standing image of *Amida 阿弥陀, referred to as a *kebutsu 化仏, may be added in front of his crown as well.
There are different theories to account for the meaning of Juuichimen's multiple heads. On a folk level, there is a story that his head split into many because of his worry over sentient beings. On a higher level, he removes the eleven impediments of sentient beings. The positioning of the heads clearly indicates, that the elevated head of the Buddha rises above the others and iconography evokes the ten stages of the bodhisattva path, with the Buddha as the final result. The encapsulation of these processes into one image shows the presence of all within the bodhisattva, and suggests the fully enlightened bodhisattva as the ideal.
The origin of the iconography is unclear, but in India, multi-headed, multi-armed figures were used by the 7c to express the complex religious truths and practices of Buddhism. Although few examples are extant in India, a sculpted 7-8c image of Juuichimen Kannon with four arms in the cave #41 at Kanheri is well-known. In China, Juuichimen was commonly portrayed from the early Tang dynasty (early 7c), and the extant examples are found in paintings in Dunhuang 敦煌 (Jp: Tonkou caves #321 and #334) as well as in bronze and stone sculptures. In Japan, belief in the power of Juuichimen Kannon is recorded from the mid 7c, and the deity was propitiated especially for aid in convalescense from illnesses. Sculptural and painted images were common in the Nara period (8c) and became extremely popular in the Heian period (9-12c). There are numerous extant examples, many of fine quality, such as a painted image on the walls of the *Kondou 金堂 (late 7c) in Houryuuji 法隆寺, Nara (burnt down in 1949). Devotion centered upon the practice of group confessions before an image of the deity, the most famous of which was the shuni-e 修二会 ceremony of the *Nigatsudou 二月堂 in Toudaiji 東大寺, Nara (commonly known as omizutori お水取り), which began in 752 and continues to the present day. In Esoteric Buddhism ｍikkyou 密教, Juuichimen appears in the *Taizoukai mandara 胎蔵界曼荼羅. In Shinto art *Shintou bijutsu 神道美術, Juuichimen Kannon is a common choice as the *honjibutsu 本地仏 (Buddhist counterpart) of female Shinto deities *kami 神 and is one of the two most common choices as honjibutsu of the Sun Goddess Amaterasu Oomikami 天照大神 (the other being *Dainichi 大日). Juuichimen Kannon may be painted; 1) alone, as in the large Kamakura period (14c) painting held by Shidoji 志度寺 in Kagawa prefecture; 2) in his paradise *Fudaraku 補陀洛 (on a rock in the ocean) often accompained by Zenzai Douji 善財童子; or 3) in a setting like that of the large panel painting in Kaijuusenji 海住山寺, Kyoto, in which the deity descends from his paradise across the sea to welcome the deceased, *raigou 来迎, accompanied by the 25 bodhisattvas. In addition, the fame of distinct sculptural images of Juuichimen Kannon also lead their being the subject of paintings. One such example is the principal image of Hasedera 長谷寺 in Nara, which as a special feature holds a pewter staff *shakujou 錫杖 in its right hand and a lotus in a vase in its left. This very large image stands on a smooth, flat stone uncovered in a landslide, (instead of the lotus pedestal *rengeza 蓮華座, on which the deity first appeared). The story of the making of the image appears in the illustrated history of the temple *shaji engi-e 社寺縁起絵.
bestpauljaisini.blogspot.com/2015/01/muse-gif-1.html The art conundrum; the disconnect between society and art establishment
Celebrity art dealers artists and art collectors have become superstars of such caliber F. Scott Fitzgerald would’t imagine in a wildest Great Gatsby's wet dream.
The breathtaking fables of high-flying multi-million art deals inspire the sensational and entertaining articles to be written by the writers who could barely earn a living nowadays. How many people, however, actually become the art lovers learning about the adventures of the glitzy art stars? None.
The art world is a lonely Narcissus that admires the own reflection. But desperately wants the public affection and attention unwilling to admit the need of new source for awe. Or how many art critics made a serious attempt to explain in written word the post post-modern art scene?
What about the artists… is next thought that comes to mind. Maybe this whole problem of art turning into a very sexy fast-money exchange business is due the bad quality artists?
Even television tried to popularize art in the attempt to create a show who wants to be the next American top model I mean artist. But the public only grow less interested, more so, the public wants to take over the art franchise after the so-called digital revolution. Masses of people who could never touch a camera for variety of reasons now turn to photography. For instance, 300 million photographs are uploaded every minute to Facebook, The numbers have power the sheer grandiosity. And yet the art world tries to keep its cool. And more so, continues to be disconnected.
Which could be good or bad depending how one looks at it. Good in a sense of art preservation, not good for survival of the franchise. In most recent global social phenomenon there’s a new traits of human behavior that present a real threat to what is known as highly developed Western culture.
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J.E.F - Sandra Black - Wip Event
Noveny - Patio Lounger - Adult - Wip Event
Noveny - Pina Colada - Wip Event
Noveny - Rattan Diamond Palmera - Wip Event
Noveny - Rattan Mini Table - Wip Event
Noveny - Rattan Mirror Clear Dark - Wip Event
Pose : [DPSP] - Kissing Frogs
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Christian Music Video | Feel the Love of God | "When You Open Your Heart to God"
www.holyspiritspeaks.org/videos/open-your-heart-to-god-mv/
When You Open Your Heart to God
When you do not understand God and do not know His nature,
your hearts can never truly open, open up to God.
Once you understand your God,
you will understand what's in His heart,
and savor what lies in Him
with all your faith and heed.
When you savor what is in God's heart, bit by bit,
day by day,
when you savor what is in God's heart,
your heart will open up to Him.
When your heart is truly open,
when your heart is truly open,
you will see the contempt,
you will see the shame of your extravagant and selfish requests.
When your heart is truly open,
when your heart is truly open,
you will see an infinite world in God's heart,
and be in a realm of wonder untold.
In this realm there is no cheating,
no deception, no darkness, and no evil.
There is only sincerity and faithfulness;
only righteousness and kindness.
He is love, He is caring,
infinite compassion.
In your life, joy is felt,
when you open your heart to God.
His wisdom and power fill the infinite world,
so do His authority and love.
You can see what God has and is,
what brings Him joy,
what brings Him woes, what brings Him sadness and anger,
is there for all to see,
when you open your heart up to God
and invite Him in.
from The Word Appears in the Flesh
Eastern Lightning, The Church of Almighty God was created because of the appearance and work of Almighty God, the second coming of the Lord Jesus=, Christ of the last days. It is made up of all those who accept Almighty God's work in the last days and are conquered and saved by His words. It was entirely founded by Almighty God personally and is led by Him as the Shepherd. It was definitely not created by a person. Christ is the truth, the way, and the life. God's sheep hear God's voice. As long as you read the words of Almighty God, you will see God has appeared.
Terms of Use en.godfootsteps.org/disclaimer.html
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Skin : Midori's - Laisa Skin - EVOX - Gothcore
[ VelvetVue ] - Sanguinia Eyes - Gothcore
Dead Dolls - Dark Reflections EvoX 4KHD - Gothcore
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# #cozy #decor #art #fashion #style #portrait #homedecor #aesthetic #creative #lifestyle #photography #model #fashionphotography #design #mood #vibrant #people #Event #DeadDolls #Midori's #Gothcore #Skin #Tattoo #VelevetVue
Excerpt from centrewellington.maps.arcgis.com/apps/Shortlist/index.htm...:
36 Henderson Street
The Parish of St. John the Evangelist was formed in 1830. The present church was opened in 1875. Besides being a place of worship for over 125 years, St. John’s has evolved into a community centre, and has been an incubator for many organizations. It has been a community meeting place for such diverse groups as the Girl Guides, Canada World Youth, the Elora-Salem Horticultural Society and Alcoholics Anonymous. St. John’s-Kilmarnock School, the amalgamation of St. John’s College and St. Margaret’s Schools, which were founded in Elora, still have close ties with the church. Well known for its music, St. John’s was the birthplace of the Elora Festival in 1979. The Festival and its Singers hold concerts in the church throughout the year. In recent years a strong bond has developed with Portage, an organization offering a drug free therapeutic rehabilitation program for juveniles. Students at Portage serve at church services and a number of members of the parish do volunteer work at Portage. St. John’s is the home of the famous communion set reportedly donated by Florence Nightingale to her cousin and reputed lover, John Smithurst, Rector of the church from 1852-1857. The building is an excellent example of Victorian Gothic Revival architecture. Hallmarks of the Gothic Revival style in St. John’s include buttresses, vaulted arches, steeply pitched gable roofs, elaborate cast iron ornaments such as rooftop cresting and pointed arch windows. The polychrome colour scheme of red and yellow brick buttresses and external woodwork are all features of Gothic Revival architecture. The church was designed by Henry Langley (1836-1907) an architect with extensive experience in church design. Langley was responsible for the design of the Metropolitan Methodist, Jarvis Street Baptist, and St. Andrew’s Presbyterian (now United) churches in Toronto. Year Built: 1875
el.kingdomsalvation.org/videos/how-the-Lord-returns.html
Η βίβλος λέει: «ιδού, έρχεται μετά των νεφελών, και θέλει ιδεί αυτόν πας οφθαλμός… » （Αποκ. 1:7）Από αυτό το κεφάλαιο, δευτέρα Παρουσία του Κυρίου θα πρέπει να έρχεται σε σύννεφο εμφανίστηκε ανοικτή σε όλα τα έθνη; Αλλά, η Βίβλος λέει και πάλι: «θέλω ελθεί επί σε ως κλέπτης». （Αποκ.3:3）Αυτό το κομμάτι λέει ότι ο Κύριος έρχεται ξανά μυστικός, είναι να κλέψει θησαυρό. πώς είναι διαφορετικός ο τρόπος με τον οποίο ο Κύριος έρχεται σε αυτά τα δύο κεφάλαια; Ο Κύριος έρχεται με τα σύννεφα ανοιχτή, οι άνθρωποι μπορούν να δουν; Ή μυστικοπαθής να έρχεται; Χριστιανική Εκκλησία ταινία "Yearning" θα αποκαλύψει τις αμφιβολίες.
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Νομική Γνωστοποίηση και Όροι Χρήσης:
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Unorthodox - Scalpz UNITS v2.2
Unorthodox - Gabby Hair w/ All Scalpz
Unorthodox - Edges- Madi Front
eXxEsS - Top No.11
Cazimi - Love Bites Earrings - Available at the Love Bites hunt only.
::House of Pain::. - Japan Neko Tattoo
NEW ATTITUDE
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For Her
GASET & "CATARSIS" - Chihiro Set - Level Event
For Him
NEW ATTITUDE
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✰ Credit ✰
Eternus - Graceful Darkness Set - Access Event
Compatible with: - Maitreya+Petite - Legacy+Perky+Push-Up - Reborn+Juicy Boobs+Rolls+Waifu
Wicca's Originals - Tempest Booties FLF-o-Ween '23 // Ocober 13th - November 3rd 2023
Sizes: Maitreya, Legacy[F], Reborn, Legacy[M], Jake, Gianni
Pose :Lush Poses - KeeJi - Female Bento Pose
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narradordeimagenes.blogspot.com.es/2012/04/flor-primavera...
Un desamor, un nuevo desengaño, vuelta a la amargura y la tristeza, colores "ocrizos" que llenan la habitación de desconsuelo. Un pétalo que se descuelga.
Tan sólo un pétalo.
Un tallo bien plantado venciendo a la gravedad y las tempestades.
Toda una flor por disfrutar.
Estrellas la iluminan. Rojo sempiterno.
Mejor en lightbox
* Prohibido el uso para fines comerciales sin previa autorización escrita. Derechos Reservados
© Juan Carlos Pascual - jcpascual@gmail.com
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* Prohibited the use for commercial purposes without prior written authorization.
© Juan Carlos Pascual - jcpascual@gmail.com
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* Por favor, no use esta imagen en los sitios web, blogs u otros medios de comunicación sin mi permiso explícito.
© Todos los derechos reservados
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* Please don't use this image on websites, blogs or other media without my explicit permission.
© All rights reserved
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Niawi - Cheeky Papernote - Fetish Fair
JXL - OUTFIT 20 - Fetish Fair
NEW ATTITUDE
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✰ Credit ✰
For Her
Kaithleen's - Beach Bar Outfit
Hoodlem - Vlone Tattoo
For Him
[Elementtare] - BCalif T-Shirt
[Elementtare] - BCalif Shorts
NEW ATTITUDE
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✰ Credit ✰
::Loa:: - April Brows ~LeLutka EVO X~ [BOM]
Aura De La Luna - Eyeshadow #14 - DollHolic Event
Aura De La Luna - Animation Cross Earring - Gothcore
CODEX - Marzia necklace - Kinky Event
NEW ATTITUDE
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✰ Credit ✰
[ZOS x KOUD] - Licy Eyes FATPACK (LeL EvoX, BoM) - Gothcore
SLAUGHTER - Vampur EvoX Face (Ears + Veins) - Gothcore
coquille. - Moon Lashes for Megalash - Planet 29
coquille. - Luna Lips (EVOX HD) - Planet 29
[SG] - Hello Munchkin Gauged - Planet 29
NEW ATTITUDE
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www.new-forest-national-park.com/new-forest-heathlands.html
The New Forest heathlands are the most characteristic habitat of the Forest and are some of the most important lowland sites for nature study in Europe. Indeed, there aren't many places left in Britain and Europe that can boast such expanses of untouched heath.
These heathlands have changed little over time but were once covered in dense forest, as was much of the British Isles.
It was the area's inhabitants of the Bronze Age that cleared these forests, opening up large areas for basic agricultural use. However, the sandy, acidic soils were largely infertile and unsuitable for any serious use - the primary factor in ensuring the survival of the New Forest heathlands through the centuries.
In present times, animal grazing helps maintain the heathlands, while in winter controlled burning by the Forestry Commission promotes new springtime growth of grass and prevents the scrub from completely taking over.
The biggest areas of heathland occupy the western half of the New Forest and count for around half of the area of the Open Forest.
The heathlands are fairly uniform in appearance - almost completely covered in heather (bell heather and ling) with a good scattering of gorse bushes and bracken. The heather flowers in summer, bringing the normally dull-brown heathlands to life with shades of purple and pink. At this time, the bracken is also at its greenest, while the yellow flowers of the gorse have all but disappeared, having bloomed a couple of months earlier.
The heathlands of the New Forest are criss-crossed by sandy tracks, and low-lying areas play host to another of the Forest habitats, the bogs.
New Forest heathland wildlife
The low, dense covering of the heather and scrub provides a good home for many different species of insects and invertebrates. In turn, this attracts a healthy diversity of animal and birdlife and the heathlands are home to several of Britain's rarest species.
Notably, the sand lizard and smooth snake (shown below) are both protected species that survive in select areas of the New Forest heaths, while the rare Dartford Warbler is now a permanent resident in amongst the gorse.
Ground nesting birds, such as nightjar and skylarks, are also to be found on some of the New Forest heathlands. In fact, about one quarter of New Forest birds nest in this habitat.
Between March 1st and July 31st great care must be taken while walking on any of the heaths - always walk on the paths! Indeed, the Countryside and Rights of Way Act (2000) is in force on certain parts of the Forest, and dog walkers especially must take note; dogs must be kept on a short lead during this period.
Numerous warning notices are put up at this time of year, all around the heathlands where nests may be.
For visitors to the New Forest National Park, the question "But where's the forest?" may well be justified when viewing such large open tracts of land, but the New Forest heathlands are as characteristic of the area as the mighty oak and beech trees are, and must be accepted as a major part of the Forest!
NASAViz Story Solar Continuum on the iPad
Download video:
svs.gsfc.nasa.gov/vis/a010000/a011400/a011418/index.html
NASA Visualization Explorer Now Available For All iOS Devices
The popular NASA Visualization Explorer app, first launched for the iPad in July 2011, is now available for the iPhone and all devices running iOS 5.1+
A new universal version of the app is now available for download in the iTunes app store. Click here: svs.gsfc.nasa.gov/nasaviz/ to download the app
The app, which features the data visualization work of NASA's Scientific Visualization Studio, Earth Observatory and others, publishes two stories per week about the full range of NASA's astrophysics, planetary, heliophysics and Earth science missions.
Read more:
Join the NASAViz Community on Facebook: www.facebook.com/NasaViz
Follow us @NASAViz: twitter.com/#!/nasaviz
NASA's Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
Credit: NASA/Goddard
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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June 8, 2019 - Loomis Nebraska
Prints Available...Click Here
All Images are also available for...
stock photography & non exclusive licensing...
Watch the Storm Chasing Video from that day's Chase on Flickr Click Here
No tornadoes on this day's chase, but some incredible supercell structure out on the plains of Nebraska.
We started the day with a supercell that had several meso structures being reported from radar. This storm was tracking slowly about 12 knots cresting from the northwest to southeast. Classic June storm structure for this time of year in Nebraska. Northwest of North Platte Nebraska it had reported wall cloud and we definitely wanted a piece of this action.
We arrived as it was gaining strength as it has pushed through Maxwell Nebraska. We stopped in Brady, just to the southeast via I-80 corridor to get the bugs off of the windshield and as the storm was gaining strength. We had stopped just a few miles to the south of Brady we set up shop to catch this storm. Nice clear beautiful structure accompanied the underbelly of this supercell. Though we had a clear cut defined wall cloud this storm never did show us her tornadic teeth.
After about an hour on this storm in the same position (rare for us to do this) we eventually had to back off and get back to the east. We had to get south of Gothenburg just a few miles off the I-80 exit area for the next structured shot of this supercell. Oh we got just what we were looking for! Phenomenal base rotation!
Eventually we had backed off again as the hail core was approaching. Plus this cell was loosing its steam. We moved back to the I-80 corridor then south of Cozad Nebraska and this cell was in redevelopment mode and we had some waiting to do. Though not a long wait as this original cell fizzled out but we had one more chance for good structure south of Overten Nebraska. We headed to Loomis Nebraska for another treat to end the day. Oh did I say treat? We got a whole bunch more eye candy than expected.
Just to the east of Loomis Nebraska we encountered some incredible supercell structure. This storm wasn't going to be shy, and she eventually showed us some teeth.
Personal Note: For some odd reason I didn't clear my memory card on my last chase, and I ran out of room on my SD Card. I had to stop shooting after the wall cloud was right over my location my Loomis Nebraska. I didn't have time to pull out my spare card and load it due to the strength and this fast moving cell. This storm cell became outflow dominate and man do I mean dominate. We got caught in the outflow boundary several times with tons of gustnadoes and almost haboobish. I did have my trusty camera with me... I was in the drivers seat so when we had a chance, I did capture some incredible pics that blew me away literally. Either I'll make another short video to proceed this one or you'll have to wait till I get them posted on my Flickr site flickr.com/nebraskasc.
All in all. I'm not always about catching the tornado. I had some good friends and fellow storm chasers along side that day. In my opinion... just another EPIC chase day in Nebraska!!! Woot Woot. More to come!
*** Please NOTE and RESPECT the Copyright ***
Copyright 2019
Dale Kaminski @ NebraskaSC Photography
All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
#ForeverChasing
#NebraskaSC
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
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Vanilla Bae - Clary Top
[SG] - Heartache Goggles - Gothcore
[ VelvetVue ] - Cornelia Eyes - Gothcore
Eyeshadow : Moonstone. - Molten Shadow - Gothcore
ASCENT - Maniac Piercing - Unrigged - PBR - Gothcore
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This image from my Glass Walls series has been a hard photo for me to get online because I have so, so much that I want to say about it. Not just say. Scream. Pound my fists against the wall (or on a deserving subject). The inspiration behind it enrages me so much, it makes it difficult to remain rational in my description.
That said, this image was inspired by the documentary Blackfish. You probably know what it's about, but for those who don't, it exposes the horrific abuse that goes on in SeaWorld and many, many other marine parks of the kind. Certainly, some may not be as bad as SeaWorld, but when it comes down to it, none of these animals should be in captivity. Especially the orcas.
Kidnapped from their mothers' sides as young calves. Forced to perform in order to eat. Kept in cramped tiny cages where orca-on-orca violence is rampant. Physically and psychologically tortured every single day. Artificially inseminated at very young ages, only to have their young ripped from them and sent to other parks. SeaWorld claims to be a place to celebrate these animals. The truth is, their tanks may as well be filled with the orcas' tears.
It's no wonder that after being kept in such conditions for years and years, many of them become psychotic. They snap and attack their trainers. They may kill their trainers or members of the public who get too close. Frequently, this destructive, hopelessness is turned inward. They bash their heads against the walls of their tanks and chew their teeth to nubs, driven mad in their tiny tanks. Some will have their teeth drilled out of their head - all of their teeth - without any anesthetic at all. Having been to the dentist for far less serious procedures, I can hardly imagine the excruciating pain.
Captive whales typically live about 8-20 years. In the wild, males usually live to about 50-70 and females can reach 80-100. We are essentially looking at human lifespans for these incredibly intelligent, sentient creatures. I suspect they welcome their extremely early deaths.
The size of the tanks they live in has been likened to a human living his whole life in a cage the size of a bathtub. Imagine it: at two, you're kidnapped by a different species, made to perform or you won't be fed, and every minute you're not performing, you're locked back into a cell which makes solitary confinement housing look spacious. How well adjusted would you be? Never mind the malnutrition, being forced to constantly pop out babies, the lack of any positive or natural stimuli. Even with the best of intentions, a marine park would never be able to replicate life in the wild for an orca. And SeaWorld has no intentions for anything other than increasing its bottom line.
To help address this atrocity which continues every day, I asked Travis to shove himself into a bathtub for me and photographed him on a ladder. Now imagine that that tub is virtually his entire world. He's spent years in there. Would you want to watch a show where he was forced to perform? If he started lashing out against his captors, would you blame him? If he tried to end his own life, would you be surprised?
I addressed SeaWorld a bit more directly in a blog post that you can read here. There's also a great article here to get you started on learning the truth behind the lies SeaWorld tells.
I often feel helpless about this problem. I can't physically break into a park and carry the whales out to sea by myself, one by one. And even if I could, the ones born into captivity usually can't make it in the wild anymore. But we can do something. Boycott them. Spread the word. Counter their lies with truth. SeaWorld's only care is profit, and if that dries up, they'll eventually do the right thing. They'll stop kidnapping whales. They'll stop their horribly incestuous breeding program. They'll let the poor whales who are left live out their days in a large, protected enclosure in the sea. It's not freedom, but they've taken that option away from these innocent beasts. It's their best chance at a good life.
Blackfish is widely available for viewing, including streaming on Netflix. I urge you to watch it if you have not yet seen it. But more than that, I ask, no, implore you; do not support SeaWorld or any other marine park with your money. When the money goes, so will they, and one incredible injustice in the world will finally stop.
Please feel free to share this image around online! The more people who know about the issues, the better for all!
Model: Travis Weinand
On a happier note, if you're in or near the LA area, please come by the Creative Arts Group Gallery in Sierra Madre (which is right next door to Pasadena)! They are showing eight of my prints, all from my DreamWorld series, including my latest piece for DreamWorld, A Poisoned Sleep Of Kissless Dreams, which crosses over into my Enchanted Sleep series on life with M.E.. In addition to the prints, they are displaying a number of costume pieces and props which I hand-made for the images being shown. This is how I've always envisioned DreamWorld being shown, with physical pieces of it alongside the final product. Very exciting!
There will be an opening reception on June 20th from 12-2 and I would LOVE it if you stopped by! It's always so nice to put faces to people you've only known online, and it will also help distract me from being nervous ;) If you can't make it to the reception, please do feel free to visit the gallery any other time the show is running! And if you're so inclined, telling the gallery staff that you're there to see my work would also be appreciated :)
Thanks, and I hope to see you there!!
*Blog
*Prints and more prints
el.godfootsteps.org/videos/true-prayer-hymn.html
Εισαγωγή
Εκκλησιαστικοί ύμνοι
Ύμνος των λόγων του Θεού | Αληθινή προσευχή | Μάθετε πώς να προσευχόμαστε στον Θεό
I
Προσευχή αληθινή είναι να Του μιλάς από καρδιάς,
βασίζεται στην βούληση, στον λόγο Του.
Είναι να νιώθεις τόσο κοντά στον Θεό,
σαν να είναι μπροστά σου.
Σημαίνει πως έχεις τόσα να Του πεις,
η καρδιά σου σαν τον ήλιο λάμπει,
Νιώθεις έμπνευση απ’ το κάλλος του Θεού,
όσοι ακούν νιώθουν χαρά.
Η προσευχή η αληθινή θα φέρει ειρήνη, χαρά,
δύναμη να Τον αγαπήσεις,
και νιώθεις την αξία αυτού.
Κι όλα αυτά δηλώνουν προσευχή αληθινή.
II
Προσευχή αληθινή δεν είν’ οι τυπικότητες,
ούτε είναι απαγγελία απλή.
Δεν είναι το να αντιγράφεις τους άλλους.
Μίλα από καρδιάς, αγγίξου απ’ τον Θεό.
Οι προσευχές σου για να πιάσουν τόπο,
διάβασε τα λόγια του Θεού.
Και μόνο αν προσεύχεσαι με τα λόγια Του,
θα δεις τη φώτιση.
Ω ... ω ...
III
Η προσευχή δείχνεται με καρδιά
που λαχταρά ό,τι απαιτεί γι’ αυτήν ο Θεός.
Τη θέληση για να την εκπληρώσεις,
και το μίσος για τα μίση του Θεού.
Και σύμφωνα μ’ αυτά που ήδη ξέρεις,
όλες οι αλήθειες που λέει είναι σαφείς,
με πίστη ισχυρή, και δρόμο να ασκήσεις.
Μόνο αυτή η προσευχή είν’ αληθινή.
Ναι. Μόνο αυτή η προσευχή είν’ αληθινή.
Η προσευχή η αληθινή θα φέρει ειρήνη, χαρά,
δύναμη να Τον αγαπήσεις,
και νιώθεις την αξία αυτού.
Και όλα αυτά δηλώνουν προσευχή αληθινή,
αληθινή. Αληθινή.
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
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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
ru.godfootsteps.org/testimonies/what-is-the-rapture.html?...
Как и многие другие братья и сестры-христиане, я с нетерпением жду второго пришествия Господа Иисуса. Мы руководствуемся следующим отрывком из Библии: «Потом мы, оставшиеся в живых, вместе с ними восхищены будем на облаках в сретение Господу на воздухе, и так всегда с Господом будем» (1-е Фесс.). По этой причине мы неразумно смотрим на небеса в ожидании того дня, когда Иисус вернется и заберет нас на облака, чтобы мы могли быть с Господом. Однако, после стольких лет, уже появились четыре кровавые луны; землетрясения, голод, язвы и войны и всевозможные другие бедствия становятся все сильнее. Пророчества о втором пришествии Господа в основном сбылись. Однако мы до сих пор не увидели ни одного христианина восхищенным на небеса. Я не могу не думать: «Почему Господь не приходит, чтобы принять нас? Господь заслуживает доверия. Господь обещал, что Он приведет нас в Небесное Царство в последние дни. Обетование Господа, безусловно, совершится и исполнится. Я в этом ничуть не сомневаюсь. Однако, почему до сих пор мы так и не восхищены Господом на небеса? Может быть, что-то не так с нашим страстным желанием?»
…….
Подробнее:
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Image Source: Церковь Всемогущего Бога
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Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: www.kingdomsalvation.org/it/disclaimer.html
I
Nell'Età del Regno, gli uomini saran resi completi, pienamente completi nell'Età del Regno. Quando l'opera di conquista sarà compiuta, essi saran sottoposti a raffinamento e tribolazione, quando la conquista sarà compiuta. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.
II
Durante questa tribolazione, l'uomo deve esser raffinato. l'ultima istanza dell'opera di Dio, l'ultima volta che l'uomo è raffinato prima che il lavoro di gestione di Dio venga chiuso. Chi Lo segue deve accettar questa prova. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.
III
Chi affronta la tribolazione non avrà la guida di Dio o l'opera dello Spirito. Ma il conquistato, cercando Dio, resterà in piedi. Non importa cosa Dio faccia, essi non perderan le loro visioni, ma praticheran la verità, portando testimonianza. Questi ce la faranno. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.
IV
Oh, essi son coloro, coloro in possesso dell'umanità, che amano davvero Dio. Quelli che trionfano e offron testimonianza in questa tribolazione, oh, quelli son coloro che infine saran resi completi, e saranno i trionfatori.
da "La Parola appare nella carne"
Fonte: www.kingdomsalvation.org/it/only-the-overcomers-stand-fir...
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Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.
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For Her
[[Masoom]] - Shadow Witch - Cosmopolitain
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LACONIC/THEIAS - Call Tattoo Gents
Pose :
Ana Boutique - Glamour Couple - Posevent
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