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Zheng Muen is a co-worker at a Chinese Christian church in the United States. He has believed in the Lord for many years, and has worked for the Lord with unwavering enthusiasm. One day, his aunt witnessed to him that the Lord Jesus has returned and expressed the truth, and that He is performing the judgment and cleansing work of the last days. Hearing this news, Zheng Muen was very excited. Through reading Almighty God's words and watching the movies and videos of The Church of Almighty God, Zheng Muen confirmed from his heart that the words of Almighty God are the truth, and that Almighty God is quite possibly the second coming of Lord Jesus. Therefore, he and several brothers and sisters began investigating God's work of the last days. Unexpectedly, when Pastor Ma of his church learned this, he tried to disrupt and hinder Zheng Muen over and over. In order to make Zheng Muen give up examining the true way, Pastor Ma let him watch videos that the Chinese Communist government used to discredit and condemn Eastern Lightning. Zheng Muen was puzzled and couldn't understand why religious pastors and elders condemn Almighty God when it's clear that Almighty God's words are the truth and the voice of God, and why they not only do not seek and investigate the true way themselves but block other believers from accepting it. Why is this? … Afraid of being deceived and taking the wrong path, and at the same time afraid of missing the opportunity to be raptured at the Lord's return, Zheng Muen felt conflicted and confused. Just at that time, Pastor Ma sent him some negative propaganda of the Chinese Communist Party and the religious world. After reading it, Zheng Muen became doubtful. He believed the pastor's words and gave up investigating the true way. Later on, the witnesses of The Church of Almighty God fellowshiped about the truth with him, which allowed Zheng Muen to understand that the fundamental principle of investigating the true way is to see whether it has the truth and whether what is expressed is the voice of God. Only the appearance and work of Christ can express many truths, because no corrupt humans can express the truth. This is a manifold fact. If one does not pay attention to hearing the voice of God and only rely on their imagination to wait for the Lord Jesus to descend on a cloud, they will never be able to welcome God's appearance. Zheng Muen finally understood the mystery of the wise virgins hearing the voice of God that the Lord Jesus spoke of. He no longer believed the lies and fallacies of the Chinese Communist government and the religious world, and broke away from the control and bondage of the religious pastor. Zheng Muen deeply felt that it's not simple to investigate the true way, and that if one cannot discern things and does not seek the truth, they will never hear the voice of God or be brought before God's throne, and they will only die ensnared in Satan's net, which will fulfill these words in the Bible: "My people are destroyed for lack of knowledge" (Hos 4:6), and "Fools die for want of wisdom" (Pro 10:21).
Dad enters the kitchen, apologizing for the mess he left.
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The Common Gull (Larus canus) is a medium-sized gull which breeds in northern Asia, northern Europe and northwestern North America. Adult common gulls are noticeably smaller than the herring gull and slightly smaller than the ring-billed gull. It is further distinguished from the ring-billed gull by its shorter, more tapered bill, which is a more greenish shade of yellow and is unmarked during the breeding season. The body is grey above and white below. The legs are greenish-yellow. In winter, the head is streaked grey and the bill often has a poorly defined blackish band near the tip, which is sometimes sufficiently obvious to cause confusion with ring-billed gull. They have black wingtips with large white "mirrors". Young birds have scaly black-brown upperparts and a neat wing pattern, and grey legs. They take two to three years to reach maturity. The call is a high-pitched "laughing" cry. (wikipedia)
This is an adult Common Gull in winter plumage. They breed on the coast and inland in the west of Ireland, from Dingle to Malin Head, with most colonies in Co. Galway, Co. Mayo and Co. Donegal. Inland it can breed on islands in lakes where it has declined. These declines, like those of inland breeding Black-headed Gulls, have been attributed to predation by American Mink, reaching previously safe nesting areas (per Birdwatch Ireland). This photograph was taken at Cuskinny Marsh Nature Reserve in Cobh, Co. Cork. A great place to see gulls up close in winter.
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
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En el Catálogo Orientativo de Obras de Arte para las Pruebas de Acceso a la Universidad de la Ponencia de Historia del Arte de las Universidades Andaluzas, aparecen reseñadas las siguientes obras de arquitectura egipcia:
1. Pirámide escalonada de Zoser; Sakkara.
2. Pirámides de Keops, Kefrén y Micerinos; Guiza.
3. Templo de Amón-Ra; Karnak.
4. Templo de Amón-Min; Luxor.
5. Templo de la Reina Hatshepsut (semispeo); Deir el-Bahari.
6. Templo de Ramsés II (gran speo); Abu-Simbel.
No obstante, en los juegos de exámenes de la Selectividad de Historia del Arte de Andalucía sólo han aparecido las siguientes obras:
A. Pirámide escalonada de Zoser; Sakkara.
B. Pirámides de Keops, Kefrén y Micerinos; Guiza.
C. Templo de Ramsés II (gran speo); Abu-Simbel.
Se incluyen los comentarios de estas tres obras.
El modelo de comentario que se sigue en cada obra intenta ajustarse a los criterios de corrección que se exigen en la selectividad de Andalucía. Concretamente se especifica que serán determinantes a la hora de calificar el empleo del vocabulario adecuado y específico, la localización (estilo, período histórico-artístico, escuela, autoría y cronología) y la contextualización (relación de la obra artística con su contexto histórico, social, político y religioso). Por lo demás, en el examen los epígrafes señalan que el alumno «clasifique y comente la imagen»
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COMENTARIO DE UNA OBRA DE ARTE: PIRÁMIDE ESCALONADA DE ZÓSER
1) IDENTIFICACIÓN
- Título de la obra: Pirámide de Zoser
- Autor: Imhotep.
- Cronología: 2665 - 2645 a. C.
- Período histórico: Primeras civilizaciones o civilizaciones hidráulicas.
- Estilo: Arte Egipcio.
- Escuela: Imperio Antiguo (2.700 – 2.200 a. C.), III dinastía (2700 - 2630 a. C.).
- Localización: Necrópolis de Saqqara.
2) ANÁLISIS
Nos encontramos ante la vista exterior de una pirámide de enormes proporciones, bien que con una distribución armoniosa de sus volúmenes. La obra emplea como material bloques de caliza silícea, extraídos de canteras próximas, unidos con argamasa; el exterior se revistió con piedra caliza, de grano fino, de un espesor medio de dos metros.
La estructura del edificio presenta una gran simplicidad: se trata de seis troncos de pirámides superpuestos de tamaño decreciente, sin rampas, vanos, contrafuertes ni ningún elemento constructivo destacable. El interior es completamente macizo, porque de otra forma peligraría la estabilidad del edificio.
La Pirámide de Saqqara es de planta ligeramente rectangular; los lados de su base miden 121 por 109. Se eleva hasta alcanzar los 60 metros de altura.
La tumba del faraón se encuentra bajo la pirámide, en estancias subterráneas. En concreto, la cámara del sarcófago de Zoser se encuentra al fondo de un pozo vertical, de 28 m. de profundidad. De ella parte un laberinto de corredores y habitaciones, en parte inacabado, sin parangón en ninguna otra pirámide del Imperio Antiguo.
Al igual que otras pirámides, esa edificación estaba asociada a otras construcciones de carácter funerario. En el caso que comentamos, nos encontramos ante un monumental complejo. El conjunto arquitectónico estaba rodeado por una muralla de piedra realzada con contrafuertes y bastiones y decorada con falsas puertas. En su interior destaca un amplio patio, una serie de edificios con cuidadas fachadas, pero con el interior completamente macizo y un intrincado sistema de galerías subterráneas y almacenes. Se trataba de una imitación de la residencia real de Menfis, bien que la original estaba realizada en adobe, madera y materiales perecederos, mientras que el simulacro empleó la piedra como elemento de construcción.
Saqqara forma parte de la inmensa necrópolis de Menfis, que se extendía a lo largo de más de 30 kilómetros al oeste de la capital del imperio y que agrupa los conjuntos funerarios (ordenados de norte a sur) de Abu Rawash, Guiza, Zauiyet el Aryan, Abu Gorab, Abusir, Saqqara y Dashur. A veces se incluye en este conjunto, el yacimiento de Meidum, aunque propiamente no pertenece a la necrópolis menfita.
El diseño de la pirámide experimentó transformaciones sustanciales a lo largo de sus obras. Primeramente se edificó una mastaba que se amplió en dos ocasiones y, posteriormente, se alzó una pirámide escalonada sobre ella que quedó integrada en la actual, más alta y ancha. Por tanto se distinguen cinco fases constructivas, o más bien seis, pues se incorporaron las tumbas de la familia real y se inició el complejo funerario.
Recordemos que los antiguos egipcios creían en la vida de ultratumba, existencia que quedaba garantizada si el cadáver se conservaba seguro. Se enterraba a los muertos con ajuares funerarios para que nada les faltara en la otra vida y además se les destinaban ofrendas. Estas creencias explican la importancia que concedieron a sus tumbas.
En cuanto a su interpretación religiosa, la pirámide por una parte recuerda al túmulo, evocando la piedra o colina que emergió de las aguas primordiales, y al mismo tiempo, presenta un simbolismo ascensional, como de escalera hacia el cielo. Se vincula a las creencias de los sacerdotes de Heliópolis según las cuales el faraón, a su muerte, se reunía o quizás de identificaba con la divinidad solar Ra.
Se comprende que el culto al Astro Rey y la veneración hacia l Faraón estaban unidos de forma indisoluble. Cuando sobrevino la crisis religiosa que los disoció, se extinguió la cuarta dinastía, los templos solares se construyeron en un lugar distinto a las pirámides y éstas presentaron dimensiones cada vez más exiguas y materiales más deleznables.
Constructivamente, las pirámides se originan a partir de las mastabas, tumbas prismáticas en forma de banco. De hecho la pirámide que comentamos no es otra cosa que seis mastabas superpuestas. Posteriormente se edificaron pirámides acodadas en las que las caras están conformadas con dos pendientes, de inclinación decreciente, y, más tarde, se erigieron las pirámides llamadas clásicas de caras lisas y de inclinación uniforme.
Antiguamente se creía que las pirámides fueron levantadas por esclavos, pero hoy sabemos que se edificaban por hombres libres, normalmente campesinos que se encontraban desocupados en la estación de la crecida del Nilo. Esto explica que su construcción se prolongase durante todo el reinado del faraón. Obviamente, el monarca encargaba el monumento y destinaba grandes recursos para que la obra llegara a buen término.
Se ha conservado el nombre de algunos de los arquitectos de las pirámides, pero parece que se trataba más bien del visir o primer ministro del faraón, puesto que la organización de las obras requería tanta atención como la propia construcción. Recordemos que los artistas en Egipto, como en el resto de civilizaciones antiguas, se le consideraba un artesano más y carecía de toda consideración social. El constructor de esta pirámide, Imhotep, fue visir del faraón, sumo sacerdote de Heliópolis y escritor. Posteriormente recibió culto como deidad de la medicina y la sabiduría.
3) CONTEXTUALIZACIÓN
El arte egipcio está dominado por la preocupación de la vida de ultratumba y por la necesidad del culto a los dioses cuyo último descendiente es el faraón reinante. Por ello buscan la eternidad y el colosalismo en sus realizaciones arquitectónicas y la majestuosidad en sus imágenes mediante una serie de fórmulas fijas (frontalidad, inmovilidad, hieratismo…). La preponderancia de lo sobrenatural y de lo sagrado, sumado al poder absoluto del faraón, explican que el arte egipcio rehúya la innovaciones y que evolucione muy lentamente.
El marco geográfico del arte egipcio es el valle del Nilo. Su cronología se desarrolla entre el 3000 y el 500 a. C., En su evolución temporal destacan las siguientes fases:
- El Imperio Antiguo (2.700 – 2.200 a. C.).
- El Imperio Medio (2.000 – 1750 a. C.).
- El Imperio Nuevo (1.550 – 1.070 a. C.).
La civilización egipcia tenía su base en la agricultura, por lo que su supervivencia dependía de la crecida del Nilo. Se trataba de una sociedad fuertemente jerarquizada, muy inmovilista y en la que el monarca, el faraón, detentaba un poder absoluto. El arte egipcio se convirtió en un eficaz vehículo de la autoridad del faraón y de las peculiares creencias religiosas de este pueblo.
El Imperio Antiguo (2700-2200 a.C.) se desarrolla entre la III y la VI Dinastías. La capital se situaba en el norte, en Menfis, y los monarcas mantuvieron un poder absoluto sobre un gobierno sólidamente unificado. Éste había evolucionado hacia un sistema teocrático, en donde el faraón era considerado un dios en la tierra, por lo que gozaba de un poder absoluto. Muestra del poder real es la construcción de las grandes pirámides de Saqqara y Gizá, obra de los faraones de la III y IV dinastía.
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COMENTARIO DE UNA OBRA DE ARTE: PIRÁMIDES DE GUIZA
1) IDENTIFICACIÓN
- Título de la obra: Pirámides de Guiza.
- Autores: Desconocido.
- Cronología: 2.589 – 2.500 a. C.
- Período histórico: Primeras civilizaciones o civilizaciones hidráulicas.
- Estilo: Arte Egipcio.
- Escuela: Imperio Antiguo (2.700 – 2.200 a. C.), IV dinastía (2630 – 2500 a. C.).
- Localización: en la meseta de Guiza, a unos 20 km. de El Cairo, Egipto.
2) ANÁLISIS
La imagen nos muestra una vista aérea de la necrópolis de Guiza en la que destacan las tres grandes pirámides (La de Micerinos en primer plano, la de Kefrén en el centro y la de Keops al fondo). También se observan tres pirámides secundarias y otros enterramientos. El nombre de los arquitectos se desconoce, bien que se ha identificado al visir o responsable de las obras de la Gran Pirámide: Hemon o Hemiunu.
Las pirámides principales presentan unas dimensiones colosales. La de Micerinos (en egipcio Menkaura) se elevaba hasta los 66 metros (reducidos hoy a 61), la de Kefrén (Jafra) se alzaba hasta los 143 metros (actualmente 136) y la de Keops (Khufu) superaba la cota de los 146 metros (136 metros en la actualidad).
Como se observa en la fotografía, la de Kefrén parece ser la mayor. Este efecto es debido a que se encuentra situada en un nivel más alto de la meseta, y a que presenta un ángulo más inclinado en sus caras. También se puede comprobar que esta pirámide conserva su cúspide, mientras que la de Keops se ha desmoronado. Por ello, actualmente la más alta es la pirámide de Kefrén.
Aunque mucho menores (unos 9 metros de altura), las pirámides satélites o subsidiarias muestran un tamaño, cuando menos, respetable. Señalar que aunque se comprueban notables deterioros, el conjunto se mantiene en buen estado de conservación.
Según se observa en la fotografía, las pirámides mayores y una de las subsidiarias pertenecen al tipo denominado «clásico», con las caras lisas y una inclinación uniforme. Las dos pirámides secundarias restantes se clasifican como «escalonadas», presentando cuatro pisos, bien que la del extremo izquierdo ha perdido el nivel superior. Al fondo se observan una serie de restos de enterramientos. Se trata de mastabas, esto es sepulturas de planta rectangular y estructura trapezoidal que albergaban una cámara subterránea.
En las pirámides se empleó como material de construcción bloques de piedra esmeradamente cortados y pulidos. Se hallan colocados a hueso, esto es sin emplear argamasa. Para el relleno se recurrió a piedra caliza extraída de la propia meseta de Guiza. Para el recubrimiento exterior y las paredes de los pasillos y cámaras se escogió caliza de las canteras de Tura (emplazada a unos 13 kilómetros de distancia) y con granito rosado y rojo procedente de Asuán (situado a unos 850 kilómetros de distancia).
En su estructura interna la pirámide de Keops alberga tres cámaras: una subterránea a la que conduce un pasaje descendente y que quedó inconclusa; la cámara de la reina, situada entre la base y el centro de la pirámide, y que fue usada para guardar la figura del faraón, la sede del ka. Finalmente se llega a la cámara del Rey en la que se depositó el sarcófago y que se halla emplazada en el corazón del monumento. Las dos últimas cámaras están comunicadas por un corredor ascendente llamado la Gran Galería.
La pirámide de Kefrén presenta una distribución más sencilla, con un corredor que desciende hacia una cámara subterránea y luego vuelve a subir para llegar a la cámara funeraria situada en la base del monumento.
Por su parte, la pirámide de Micerinos consta de una antecámara y de una cámara funeraria situadas en la base de la construcción, y el correspondiente pasaje descendente. Existe un corredor que parte de la antecámara y que se eleva hasta el corazón de la pirámide, pero esta obra fue abandonada.
En cuanto a su interpretación religiosa, la pirámide por una parte recuerda al túmulo, evocando la piedra o colina que emergió de las aguas primordiales, y al mismo tiempo, presenta un simbolismo ascensional, como de escalera hacia el cielo. Se vincula a las creencias de los sacerdotes de Heliópolis según las cuales el faraón, a su muerte, se reunía o quizás de identificaba con la divinidad solar Ra. Se comprende que el culto al Astro Rey y la veneración hacia l Faraón estaban unidos de forma indisoluble. Cuando sobrevino la crisis religiosa que los disoció, se extinguió la cuarta dinastía, los templos solares se construyeron en un lugar distinto a las pirámides y éstas presentaron dimensiones cada vez más exiguas y materiales más deleznables.
Como se observa en la imagen, las pirámides estaban acompañadas por otras construcciones:
- Templo del Valle: Construido junto al Nilo, era el lugar donde se recibía a la momia del faraón.
- Calzada: Camino que comunicaba el templo del valle con la pirámide.
- Templo funerario: Servía para realizar rendir culto permanente al faraón.
- Pirámides de las reinas o pirámides subsidiarias para los familiares del faraón.
- Mastabas de cortesanos y altos funcionarios.
Hay que sumar la Esfinge de Guiza, montículo esculpido y cuyo rostro parece ser el de Kefrén, las murallas que acotaban el recinto de cada pirámide y, por último, espacios diferenciados para artesanos, constructores, sacerdotes y el cuerpo de guardia, con sus almacenes correspondientes. La necrópolis de Guiza, por tanto, es un conjunto arquitectónico para vivos y muertos, con las dimensiones y el planteamiento urbanístico de una ciudad de medianas dimensiones.
Guiza forma parte de la inmensa necrópolis de Menfis, que se extendía a lo largo de más de 30 kilómetros al oeste de la capital del imperio y que agrupa los conjuntos funerarios (ordenados de norte a sur) de Abu Rawash, Guiza, Zauiyet el Aryan, Abu Gorab, Abusir, Saqqara y Dashur. A veces se incluye en este conjunto, el yacimiento de Meidum, aunque propiamente no pertenece a la necrópolis menfita.
3) CONTEXTUALIZACIÓN
El arte egipcio está dominado por la preocupación de la vida de ultratumba y por la necesidad del culto a los dioses cuyo último descendiente es el faraón reinante. Por ello buscan la eternidad y el colosalismo en sus realizaciones arquitectónicas y la majestuosidad en sus imágenes mediante una serie de fórmulas fijas (frontalidad, inmovilidad, hieratismo…). La preponderancia de lo sobrenatural y de lo sagrado, sumado al poder absoluto del faraón, explican que el arte egipcio rehúya la innovaciones y que evolucione muy lentamente.
El marco geográfico del arte egipcio es el valle del Nilo. Su cronología se desarrolla entre el 3000 y el 500 a. C., En su evolución temporal destacan las siguientes fases:
- El Imperio Antiguo (2.700 – 2.200 a. C.).
- El Imperio Medio (2.000 – 1750 a. C.).
- El Imperio Nuevo (1.550 – 1.070 a. C.).
La civilización egipcia tenía su base en la agricultura, por lo que su supervivencia dependía de la crecida del Nilo. Se trataba de una sociedad fuertemente jerarquizada, muy inmovilista y en la que el monarca, el faraón, detentaba un poder absoluto. El arte egipcio se convirtió en un eficaz vehículo de la autoridad del faraón y de las peculiares creencias religiosas de este pueblo.
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COMENTARIO DE UNA OBRA DE ARTE: EL GRAN SPEO DE ABU SIMBEL
1) IDENTIFICACIÓN
- Título de la obra: Gran Speo de Abu Simbel
- Autor: Desconocido.
- Cronología: 1244 a. C.
- Período histórico: Imperio Nuevo (1.550 – 1.070 a. C.), XI dinastía (1295 – 1186 a. C.).
- Estilo: Arquitectura Egipcia.
- Escuela: Imperio Nuevo ((1.550 - 1070 a. C.)
- Localización: Abu Simbel, Nubia (Sur de Egipto).
2) ANÁLISIS
Nos encontramos ante la fachada de un templo egipcio. Se trata de una obra de enorme dimensiones, bien que con una cuidada disposición de sus volúmenes. Aunque se observa importantes deterioros, el estado de conservación se puede considerar como muy bueno.
La fachada se encuentra rehundida en el frente de un acantilado, lo que revela que no se edificó, sino que se esculpió directamente en la roca, de tal forma que su material constructivo más que piedra, es realmente hueco. Este tipo de arquitectura se conoce como «arquitectura rupestre» o «arquitectura troglodítica» y se considera una combinación de arquitectura y de escultura, tanto en su planteamiento como en su técnica. Así no se añaden elementos, sino que se excavan o retiran, de forma semejante a como trabaja un escultor. Igualmente, y a diferencia de las técnicas constructivas usuales, la obra se empieza desde la cúspide y se progresa hasta el suelo.
Conviene recordar que estos monumentos, como todas las obras de la antigüedad, se cubrían con un enlucido y se policromaban con vivos colores.
La obra forma parte del conjunto de siete templos erigidos en Nubia, al sur de Egipto, entre la primera y la segunda catarata de Nilo. Este territorio se encontraba en la frontera meridional de los dominios del faraón y se cree que, aparte de motivaciones religiosas, el propósito del templo era impresionar a las tribus rebeldes y reforzar la influencia egipcia en la región. Se sabe que fue mandada construir por el faraón Ramsés II, de la XIX dinastía, tal vez como conmemoración de su triunfo en la batalla de Kadesh. En su construcción se siguió el esquema de los speos o templos enteramente subterráneos. Consta que las obras se prolongaron durante veinte años (1264 – 1244 a. C.). El devastador terremoto de 1210 a. C. es el responsable del derribo de unos de sus colosos.
La fachada reproduce, en parte, el frontispicio de los templos egipcios. Sus dimensiones son 33 metros de altura por 38 metros de ancho. Los cuatro colosos (unos 20 metros de altura) representan a Ramsés II, sentado en un trono con la doble corona del Alto y Bajo Egipto. A los pies de estas efigies hay otras estatuas, de mucha menor altura, que representan a su esposa favorita Nefertari, la reina madre Tuya y a parte de la numerosa descendencia del faraón.
Entre los colosos se abre una monumental entrada adintelada. Por encima de ella se abrió una gran hornacina con la estatua erguida de Ra-Horajti, deidad solar con cabeza de halcón. Esta imagen se halla flanqueada por dos efigies, en bajorrelieve, que muestran a Ramsés II en actitud orante. Por último, a manera de cornisa, la fachada está coronada por dos frisos de jeroglíficos y una hilera de 22 babuinos.
La parte interior del templo presenta, igualmente, una disposición similar a la de los templos, con habitaciones de tamaño decreciente a medida que se acercan al santuario. Estas estancias son la sala hipóstila, el vestíbulo, la sala de las ofrendas y el santuario.
En la sala hipóstila destacan los ocho grandes pilares osiriacos y los bajorrelieves dedicados a las campañas militares desarrolladas durante el reinado de Ramsés II. Las más conocidas son las escenas referidas a la batalla de Qadesh, librada junto al río Orontes en Siria. En este histórico combate el faraón derrotó a los hititas. Otros relieves muestran triunfos sobre los libios y los nubios.
A continuación se dispuso una segunda sala, el vestíbulo, con cuatro pilares decorados con imágenes en relieve de distintos dioses. Esta sala se comunica a través de tres puertas con una angosta estancia que servía de sala de ofrendas. Mediante otras tres puertas, alineadas con las anteriores, se accede a dos reducidas capillas y al santuario o sancta sanctorum, emplazado en el eje longitudinal del monumento, Allí se encuentran las esculturas talladas en la roca de cuatro figuras sentadas: Ra-Horajti, el deificado Ramsés, y los dioses Amón y Ptah. Se comprende que estas deidades, y el propio Ramsés, eran los titulares del templo.
El templo fue construido con tal orientación que durante los días 21 de octubre y 21 de febrero, al amanecer, los rayos del sol naciente cruzaban la puerta, la sala hipóstila, el vestíbulo y llegaba al santuario, iluminando durante unos minutos a las estatuas sedentes, excepto la efigie del dios Ptah, dios vinculado a las tinieblas.
Por último, existen una serie de alargadas estancias laterales, a las que se accede desde la sala hipóstila. A la derecha se encuentran cuatro habitaciones y a la izquierda solamente dos, pues la obra quedó inconclusa. Se supone que estas salas sirvieron como habitaciones auxiliares del templo, como depósitos de los objetos del culto. Con todo, algunos especialistas creen que pudieron servir de capillas.
La obra que comentamos estaba asociado a otro speo con el que formaba un complejo. Esta segunda obra es conocida como «el templo menor» porque sus proporciones son más reducidas y su distribución interior resulta más sencilla. Está dedicado a la diosa Hathor y a Nefertari, la esposa favorita de Ramsés.
Se desconoce cuando estos monumentos fueron abandonados. Su excelente estado de conservación se debe a que la arena acabó por cubrirlos en su mayor parte. Abu Simbel quedó completamente olvidado hasta que en 1813 el suizo Johann Ludwig Burckhardt lo descubrió. Cuatro años más tarde el explorador italiano Giovanni Belzoni despejó la entrada y pudo acceder al interior. Con todo, las célebres acuarelas del pintor escocés David Roberts muestran que en 1838 el templo continuaba prácticamente sepultado bajo la arena.
Como es conocido, estos templos fueron desmontados y reconstruidos entre 1964 y 1968 en un nuevo emplazamiento para que no quedara sumergido bajo las aguas de la presa de Asuán. La nueva ubicación se situaba a unos 210 metros más allá del río y 65 metros más arriba respecto al solar original.
3) CONTEXTUALIZACIÓN
El arte egipcio está dominado por la preocupación de la vida de ultratumba y por la necesidad del culto a los dioses cuyo último descendiente es el faraón reinante. Por ello buscan la eternidad y el colosalismo en sus realizaciones arquitectónicas y la majestuosidad en sus imágenes mediante una serie de fórmulas fijas (frontalidad, inmovilidad, hieratismo…). La preponderancia de lo sobrenatural y de lo sagrado, sumado al poder absoluto del faraón, explican que el arte egipcio rehúya la innovaciones y que evolucione muy lentamente.
El marco geográfico del arte egipcio es el valle del Nilo. Su cronología se desarrolla entre el 3000 y el 500 a. C., En su evolución temporal destacan las siguientes fases:
- El Imperio Antiguo (2.700 – 2.200 a. C.).
- El Imperio Medio (2.000 – 1750 a. C.).
- El Imperio Nuevo (1.550 – 1.070 a. C.).
La civilización egipcia tenía su base en la agricultura, por lo que su supervivencia dependía de la crecida del Nilo. Se trataba de una sociedad fuertemente jerarquizada, muy inmovilista y en la que el monarca, el faraón, detentaba un poder absoluto. El arte egipcio se convirtió en un eficaz vehículo de la autoridad del faraón y de las peculiares creencias religiosas de este pueblo.
En el Imperio Nuevo (1.550 – 1.070 a. C.) Egipto rompe su aislamiento tradicional y mantiene una activa política exterior que le hace llevar sus fronteras hasta Nubia y Siria. Es el periodo de construcción de los grandes templos de Luxor y Karnak en Tebas. En el devenir de este período destaca la figura del faraón Amenofis IV – Akenatón, que intentará cambiar la religión politeísta por un culto monoteísta al dios Atón. Esta revolución religiosa careció de continuidad y sus sucesores reinstauraron los dioses y rituales tradicionales.
______________________________________________
La pintura que preside esta serie de comentarios es Vista del Templo de Isis en Filé del alemán Carl Friedrich Heinrich Werner. Se trata de una acuarela sobre cartón pintada en 1865. A no dudar se trata de una vista tomada del natural. Las medidas de esta pintura son 37.2 × 64.3 cm.
La acuarela se encuentra firmada y fechada en el extremo inferior derecho: C.Werner. Philae 21 Jan. 1865.
La obra pertenece a la colección del Muzeum Narodowe w Warszawie [Museo Nacional de Varsovia] (Varsovia, Voivodato de Mazovia Polonia). Consta que entre 1880 y 1945 figuró entre los fondos del desaparecido Schlesisches Museum der bildenden Künste (Museo de Bellas Artes de Silesia) de Breslau / Breslavia, cuando esta ciudad pertenecía a la Silesia Alemana (rebautizada como Alta Silesia entre 1919 y 1938). Tras la Segunda Guerra Mundial, la región pasó a Polonia y la ciudad fue rebautizada como Wroclaw. Por su parte, el museo había sido completamente arruinado en el asedio de la ciudad en 1945 por las tropas soviéticas. Al año siguiente el cuadro pasó a la colección del Museo Nacional de Varsovia, donde actualmente se conserva.
La imagen procede de la Wikipedia:
commons.wikimedia.org/wiki/File:Werner_Temple_of_Philae.jpg
La historia de la pintura procede del catálogo virtual del museo:
cyfrowe.mnw.art.pl/dmuseion/docmetadata?id=1530&show_...
______________________________________________
La imagen de la Pirámide de Zoser procede de la página siguiente:
www.flickr.com/photos/8449304@N04/8188248211/
La imagen de las Pirámides de Guiza procede de la página siguiente:
2.bp.blogspot.com/_e1K2QoHu7VA/SOSTOtJtU-I/AAAAAAAAKIo/v6...
La fotografía de Abu Simbel presenta la siguiente procedencia:
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Chimera 2795 Speed Ring modified with 3 additional Stroboframe Shoes, which are attached with Allen Set Screws to keep them firmly in place.
This set up allows me to use (4) Nikon speedlights in a medium (3x4') or large (4x6') Chimera softbox. If I use a small (2x3') Chimera, I can only fit 2 speedlights in it.
I've been asked before, "...how do you attach your softbox to the stand and the flashes?"
Well... here's the big secret - I attach it with a:
• Chimera 2795 Speed Ring for Canon and Nikon Speedlites
• Stroboframe Shoe - General Purpose with 1/4" Thread and Screw
• Bogen / Manfrotto 2905 - Swivel Umbrella Adapter
- I replaced the Reversible male stud 3107 that comes with the Swivel Umbrella Adapter, and instead use a Bogen Manfrotto 2971 Camera_Stud as it does not have the hole in it like the 3107 Reversible male stud does, so when you tighten down the part, it stays where you put it and does not move at all, and I like that.
I leave the Camera Stud attached to the speedring at all times, because if I'm going to use it, it will be put onto the Swivel Umbrella Adapter anyway, or I'll have an assistant hold it, so then it does not matter if the stud is attached.
On the Chimera 2795 Speedring:
One day I was using mine on a very windy day, and the aluminum post that holds the ring in place sheared off with the force of the wind, so I had Tempe Camera put in an Allen Set Screw and now it is extremely sturdy.
Some people would argue, "...why do this? It's easier to just buy an Alien Bee and have one light" and I agree in some cases it would be, but this is a light weight enough set up I can throw in a back pack and hike with if I need, and I already owned the speedlights, so no additional costs were involved, and it's nice to have extra speedlights on architectural jobs, etc, to place under or behind chairs...
--
I did a test with the Minolta Flash Meter IV:
(4) Nikon speed lights (2 SB-26, 1 SB-800, 1 SB-80DX) all set to 1/2 power.
Inside a medium (3x4) Chimera softbox (with the baffle inside).
ISO 200, 250th/sec, the meter reads:
f/16.3 at 3'
f/11.8 at 4'
f/11.3 at 5'
f/8.02 at 8'
f/5.6.6 at 10'
In bright sunshine, the sunny 16 rule would be ISO 200 = 250th/sec @ f/16.
...so this system is lacking slightly if you are trying to underexpose the background a stop in bright sunshine, but certainly capable of balancing daylight exposure if you can keep the strobe between 3-4 feet away from the subject.
Flickr Explore #26 on August 12, 2009
Música cristiana | Dios es el único Soberano del destino del hombre
www.kingdomsalvation.org/es/videos/sole-sovereign-of-mans...
I
No importa cuán lejos has caminado en tu vida
ni cuán anciano seas,
no importa cuán largo sea el resto de tu viaje,
debes aceptar la autoridad de Dios,
tómate en serio saber que Él es tu único Señor.
No importa cuán grandes sean tus capacidades,
el destino de otros no se puede influenciar,
mucho menos orquestarlo, cambiarlo o controlarlo.
Sólo el único Dios todo lo dicta,
pues sólo Él tiene la autoridad para regir el destino del hombre,
y por eso sólo el Creador es el Señor del hombre.
II
Todos deben saber con claridad
que Dios controla el destino humano.
Es la clave para conocer la vida humana y la verdad,
conocer a Dios cada día.
No puedes tomar atajos para alcanzar este objetivo.
No importa cuán grandes sean tus capacidades,
el destino de otros no se puede influenciar,
mucho menos orquestarlo, cambiarlo o controlarlo.
Sólo el único Dios todo lo dicta,
pues sólo Él tiene la autoridad para regir el destino del hombre,
y por eso sólo el Creador es el Señor del hombre.
III
De la soberanía de Dios, no puedes escapar.
Del hombre, Dios el único Señor del destino del hombre.
Por eso el hombre no puede dictar su destino;
es imposible para él sobrepasarlo.
No importa cuán grandes sean tus capacidades,
el destino de otros no se puede influenciar,
mucho menos orquestarlo, cambiarlo o controlarlo.
Sólo el único Dios todo lo dicta,
pues sólo Él tiene la autoridad para regir el destino del hombre,
y por eso sólo el Creador es el Señor del hombre.
De “Seguir al Cordero y cantar nuevos cánticos”
Escuchar más: Canciones cristianas evangélicas
Música cristiana alegre | "Cuando abres tu corazón a Dios" Viendo el amor de Dios
I
Cuando no entiendes a Dios, ni conoces Su carácter,
no podrá abrirse tu corazón de verdad a Dios.
Cuando entiendas a tu Dios,
entenderás qué hay en Su corazón,
y probarás lo que hay en Él con toda atención y fe.
Cuando pruebes el corazón de Dios, poco a poco, día a día,
cuando pruebes lo que hay en Su corazón,
abrirás tu corazón a Él.
II
Si tu corazón le abres de verdad,
si tu corazón le abres de verdad,
verás el desprecio
verás la vergüenza de tu extravagante y egoísta petición.
Si tu corazón le abres de verdad,
si tu corazón le abres de verdad,
verás un mundo infinito en Su corazón,
y en un reino asombroso estarás.
En este reino no hay engaño,
ni trampa, ni oscuridad, ni maldad.
Sólo hay sinceridad y fe; sólo justicia y luz.
III
Él es amor, Él es cuidado, compasión infinita.
En tu vida gozo habrá, cuando a Dios abras tu corazón.
El reino infinito está lleno de Su poder y sabiduría,
también Su autoridad y amor.
Podrás ver lo que Dios tiene y es,
lo que le da gozo y aflicción,
qué le entristece y enoja, todos lo podrán ver,
cuando a Dios abras tu corazón y le invites a entrar.
De “La Palabra manifestada en carne”
Recomendación: Himno cristiano de adoración
Canadian National Railway RDC # CN 1501 at Blue Island, Illinois, USA.
On Blue Island:
www.dhke.com/CRJ/blueisland.html
One of the most fascinating rail hotspots anywhere, it's hard to know where to begin a description of it. Let's start by noting that Broadway crosses the entire maze approximately in the middle. Entering from the southeast is the double track CSX (B&OCT) main line coming from Barr Yard. Entering from the south and running alongside CSX for a short distance is the double track Indiana Harbor Belt line from Blue Island Yard. The CSX line then heads directly north into Chicago, while the IHB runs northwest for several miles before heading due north through the western suburbs of Chicago. There is an important crossover between the two lines just south of Broadway. Many CSX trains departing Barr Yard transfer to the IHB at this point, and the northwest line is best thought of as a joint CSX/IHB route. CSX actually owns and maintains the track from here to a point a few miles south of LaGrange, Illinois, but IHB dispatches it and is otherwise responsible for its operation. From there north to the line's terminus at Franklin Park, Illinois, IHB owns the line outright.
Entering from the south and heading in a northerly direction into Chicago is the double track Canadian National (ex-GTW) mainline, which crosses the joint line just north of Broadway. Entering the junction from the southwest, and about 30 yards west of CN, is a single track line used by Iowa Interstate and once in a great while by CSX and Chicago Rail Link. This line extends north from the junction and feeds into the joint line. Trains using it sometimes back down the joint line to access Barr and Blue Island Yards. Between the CN and IAIS lines is a connector track, providing access to a small CN yard just south of the junction. This connector has seen increased traffic recently--CN trains often use it to access the joint line, on which they now have trackage rights.
If the above were all there was, Blue Island would be a great place for trains. But there's more: at the south end of the plant, the Metra (ex-Rock Island) line crosses over the whole mess (Metra is the Chicago commuter train authority and they own the Rock Island tracks between Chicago and Joliet, Illinois). At the southwest corner of the junction, the IAIS track at the west end climbs up to connect with the Metra line.
Roughly 90 to 100 trains plow through the junction on a typical day, not counting the commuter trains and occasional freights on the overhead line. The joint line sees the most action, but CSX and CN are busy lines as well. A small tower on Broadway in the middle of the junction houses the crossing gates operator. The interlocking tower is at the far north end of the junction across the Calumet Sag Channel and is clearly visible from Broadway. All of the tracks at the junction cross the channel on rugged, formidable truss bridges that look like they were built a thousand years ago (and are good for another thousand as well). The bridges on the north and the overhead Rock Island tracks on the south make Blue Island unique among busy junctions here or anywhere else.
Hasselbach Photography I Facebook I Getty I Google+ I Twitter I RedBubble I 500px
A bus driving over Tower Bridge at night. I'm hoping to get a collection of bus light trails in front of famous London landmarks.
Here's a bus trail taken in front of The Houses of Parliament and Big Ben.
How the image was taken
> Camera: Nikon D7000
> Tripod
> Aperture F4.5
Post Production
> Aperture
> Curves & Levels
> Border added using BorderFX
Nº 36.
Renault 5 (1972).
Escala 1/60.
"Coches de colección" - Diario "El Mundo" (España).
Welly/Super 9.
Made in China.
Año 2016.
New Welly model: Item no. 52361W.
More info:
www.elmundo.es/promociones/coches/index.html
swiftysgarage.net/topic/9028846/1/
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Renault 5
"El Renault 5, conocido popularmente como R-5 en su primera generación, y como Supercinco en la segunda, es un automóvil de turismo del segmento B producido por el fabricante francés Renault entre 1972 y 1996.
Fue fabricado principalmente en su país de origen, Francia; en Valladolid (1972-1984) y después Palencia (Supercinco), España; y en la planta de la empresa gubernamental Dina-Renault-Jeep en Ciudad Sahagún, México de 1975 a 1984. Casi 5,5 millones de unidades del Renault 5 fueron fabricadas."
(...)
El Renault 5 en España
"El primer modelo fabricado en España, en la factoría de Valladolid, fue el 950, basado en el TL francés, con motor de 956 cc.
A partir de 1974, la gama se desdobló en 950 y TL, únicamente en base al equipamiento.
Tras desaparecer el 950 poco después, en 1975 se unió a la gama el GTL, con motor de 1037 cc, sustituido más adelante por otro de 1108 cc.
También en 1975 se lanzó la versión semideportiva TS (Tourisme Sport), con motor de 1289 cc, 64cv y carburador Weber-Bressel de doble cuerpo, siendo entonces en cierto modo considerado como un compacto deportivo de lujo. Con esta versión, conocidos pilotos españoles como Carlos Sáinz o Jesús Puras se iniciaron en el mundo de los rallys.
La última versión lanzada al mercado fue el TX (sustituyendo al TS) y llevaba un motor de 1.397 cc, 63 cv y un carburador vertical Weber 32-DIR 100, de dos cuerpos."
(...)
Fuente: es.wikipedia.org/wiki/Renault_5
-----------------------------------------------------------------------------------------------
Renault 5, el “Supercar”
"El Renault 5 aparece por primera vez en 1972, bajo la denominación de “Supercar”, en un anuncio hecho con la técnica del dibujo animado. El diseño moderno y original del coche, con sus formas redondeadas, suponen una verdadera revolución."
Versiones del Renault 5
- "El Renault 5 estuvo disponible inicialmente en dos versiones. R5-L con motor de 782 cm3 y 36 CV, el mismo que equipara el Renault 4. R5-TL, con motor de 956 cm3 y 47 CV, el mismo que el del Renault 8. El R5-TL se comercializaba con un equipamiento superior (limpiaparabrisas de dos velocidades, bandeja trasera y reposabrazos, entre otros refinamientos)."
- "En 1974 se comercializó una versión deportiva denominada R5-LS, con un motor de 1.289 cm3 y 64 CV DIN, con un equipamiento considerado de gama alta. Este modelo dispuso al año siguiente de asientos integrales."
- "En 1976 se comercializaron dos versiones.
Por una parte, la versión GTL, con la misma cilindrada del LS y con una potencia de 42 CV DIN. Este modelo estrenó las bandas de protección lateral realizadas en el mismo material que los paragolpes.
El otro modelo fue la gran revelación del año: el Renault 5 Alpine, que con su motor de 1.397 cm3 disponía de la nada desdeñable cifra de 90 CV de potencia. El R5 Alpine montaba un paragolpes delantero con faros antiniebla integrados y unas llantas especiales."
- "En 1977 se sustituyó el motor de la versión L por otro de 845 cm3 y 36 CV DIN. también por estas fechas, el Renault 5 Alpine fue equipado con las llantas de tres aperturas de otro modelo mítico, el Alpine A 310."
- "El Renault 5 automático apareció en 1978, con un motor de 1.300 cm3 de 55 CV y el peculiar techo de vinilo."
- "La versión de 5 puertas llega en 1979, junto con una remodelación de la parte más baja de la gama (L, TL y Société), a los que se muscula con un motor de 1.108 cm3 y 45 CV de potencia, además de incorporar un cuadro de instrumentos termo-moldeado y asientos nuevos."
- "Aunque tal vez 1979 pase a la historia de este modelo por la aparición de una auténtica bomba: el Renault 5 Turbo..."
- "Llegamos a la década de los 80, y en 1982 se comercializa el Renault 5 TX, una versión de lujo previa a las denominadas Baccara.
En este mismo año, el Renault 5 Alpine se equipa con un turbo Garret que traslada la potencia de los 93 a los 110 CV."
- "En 1984 todas las versiones base (TL, GTL, GTS y TSE) cambian su nombre por el de Lauréate, es el último año de producción en Francia y aparece el Supercinco, la segunda generación del Renault 5, modelo de nombre y aspecto similar, pero con una concepción distinta..."
(...)
El total de versiones comercializadas fueron:
950/L/LE
TL (en versión 3 y 5 puertas)
GTL (en versión 3 y 5 puertas)
Supercar
Alpine
TS
TX
Automatic cabrio.
Copa
Copa Turbo
Copa Turbo intercooler
Turbo I
Turbo II
"Entre 1972, el año del lanzamiento, y el año en que cesó su fabricación para la exportación (1992), se produjeron 5.325.890 unidades en todas las versiones del Renault 5.
Este coche fue el más vendido en Francia durante 10 años (1974-1983).
La versión TL fue la más comercializada, con 239.513 ejemplares en 1980 (el 79,75% de toda la gama).
La producción total en el mercado español entre los años 1972 y 1985 fue de 1.080,956 unidades, siendo 1981 el año en el que más unidades se vendieron, con un total de 150.288 unidades."
(...)
Fuentes:
www.motorpasion.com/clasicos/renault-5-cuarenta-anos-de-u...
noventaysieteoctanos.es/renault-5/
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Renault 5
"La Renault 5 est une automobile française, produite en deux générations distinctes.
Cet article concerne la première génération, qui a été produite en France à l'usine de Flins proche de Mantes dans le département des Yvelines, et à Valladolid (Espagne).
En janvier 1972, la marque investit le marché de la mini, ce qu'elle n'avait jamais fait auparavant. La Renault R5 fut désignée ainsi parce qu'elle était équipée d'un moteur de 5 chevaux fiscaux.
La Renault 5 va connaître un grand succès. En 1980, grâce à l'apport de sa version 5-portes lancée en juillet 1979, sa part du marché français des voitures neuves sera de 16 %. Elle est la voiture la plus vendue en France durant dix ans, de 1974 à 1983.
La Peugeot 205, qui lui ravira ensuite la première place du marché français, ne fera après pas mieux que 12,8 % en 1985. En 1972, la concurrente de la Renault 5 est la Peugeot 104."
(...)
"Le style dû à Michel Boué est le point fort de la Renault 5, les deux grandes portes sont sans poignées apparentes, allégeant la ligne.
La Renault 5 est la première voiture à être équipée de boucliers en polyester armé à la place des habituels pare-chocs chromés. Elle innove aussi en proposant un hayon arrière qui s'ouvre jusqu'au pare-chocs, pour la première fois sur une petite voiture, ce que tous les autres constructeurs copieront. Le coffre a une contenance de 270 dm3 et s'agrandit jusqu'à 900 dm3 quand la banquette arrière est rabattue.
La 5 hérite de la plate-forme, des suspensions à barres de torsion et des moteurs à arbre à cames latéral (782 à 1 397 cm3) de la Renault 4, ce qui permet un prix contenu. Le levier au tableau de bord est à commande directe car il passe au-dessus du moteur jusqu'à la boîte de vitesses montée longitudinalement à l'extrême avant.
En 1973, un levier de vitesses au plancher sera proposé sur la R5 TL."
(...)
La gamme
- "La gamme commence [1972] avec une version L qui reprend le moteur 4 CV de 782 cm3 (« moteur Billancourt ») de la Renault 4. Pour 1977, la Renault 5 L s'appellera simplement Renault 5 en recevant le « moteur Billancourt » 845 cm3 de la Renault 6."
- "La 5 TL propose le moteur 5 CV de 956 cm3 à cinq paliers issu de la Renault 8 (« moteur Cléon-Fonte »)... Clignotants avant blancs pour 1973 jusqu'en 1978... Pour 1979, les enjoliveurs de roue sont supprimés."
- "En avril 1974, apparaît la 5 LS (155 km/h), équipée d'un 1 289 cm3 développant 64 ch, de roues de style, d'un essuie-glace arrière et d'un échappement arrière (il est latéral sur les versions L et TL)... La 5 LS deviendra 5 TS dans la gamme 1975... Pour 1977, elle possèdera des vitres arrière entrouvrables."
- "En février 1976, la 5 GTL adopte le moteur 1 289 cm3 retravaillé pour consommer très peu d'essence (4,7 L/100 selon le constructeur). La 5 GTL se singularise par les bandeaux latéraux de protection en polyester prolongeant les pare-chocs, les roues de style et les feux de recul. Pour 1978, elle possèdera des vitres arrière entrouvrables.
La 5 GTL va devenir la plus vendue des Renault 5."
- "En mars 1976, est lancée la 5 Alpine qui atteint 175 km/h. Elle dispose d'un moteur 1 397 cm3 qui développe 93 ch et de la boîte de vitesses à cinq rapports de la Renault 16 TX.
La 5 Alpine est reconnaissable à sa décoration spécifique « A5 » sur les flancs, le hayon et le nez du capot, à ses pare-chocs noirs avec spoiler avant et projecteurs antibrouillard incorporés, à son rétroviseur extérieur en forme d'obus et à ses jantes en tôle de type Gordini..."
- En janvier 1978, la 5 Automatic 1300 s'équipe d'une boîte de vitesses automatique, d'un toit en vinyle noir (..,) de jantes de style, ainsi que de boucliers et de bandeaux latéraux de protection noirs. En février 1981, la cylindrée passe de 1 289 cm3 à 1 397 cm3."
- "Sur la base de la 5 TL, une 5 Société à deux places a existé, elle comportait des panneaux latéraux tôlés à l'arrière, rapidement remplacés en série par des vitres."
- "En juillet 1979, la Renault 5 est déclinée en variante cinq portes. Celles-ci sont identiques à celles de la Fasa-Renault Siete espagnole, une 5 à quatre portes avec une malle arrière et des pare-chocs chromés. Sur la cinq portes, la planche de bord, le volant et les sièges sont aussi nouveaux. Le moteur des 5 TL et 5 GTL passe à 1 108 cm3."
- "La Renault 5 à cinq portes va être une auto-école très populaire. Succédant à la Simca 1000, la 5 Auto-école se démarque de la 5 TL par ses bandeaux latéraux de protection et ses feux de recul supplémentaires."
- "À partir de septembre 1981, le carburateur de la 5 Alpine est aspiré par un turbocompresseur : la 5 Alpine Turbo (110 ch) dépasse 185 km/h. Elle reçoit des jantes spécifiques à ailettes. À partir de la fin 1983, le modèle pour la Suisse adopte une vanne EGR pour respecter les normes antipollution.
À partir de mars 1984, la 5 Alpine Turbo devient la 5 Lauréate Turbo."
- "En octobre 1981, une version luxueuse de la 5 TS à trois portes est proposée, elle s'appelle 5 TX. Elle est dotée d'une direction assistée, de lève-vitres électriques, d'un volant et d'un pommeau de levier de vitesse gainé de cuir, d'une banquette rabattable par moitié, d'un coffre entièrement moquetté et d'un pré-équipement radio.
Il existe aussi une 5 TX à boite automatique..."
- "Pour 1983, les boucliers anthracite sont généralisés."
- "La Renault 5, après neuf années consécutives en tête du marché français, de 1974 à 1983, terminera sa carrière fin 1984 sous le nom de 5 Lauréate comme version d'accès au côté de la nouvelle Supercinq.
Cette remplaçante n'osera pas s'écarter du style si réussi de la première version."
(...)
--------------
Renault 5
Marque
Renault
Années de production
1972 - 1984
Production
5 580 000 exemplaires
Classe
Citadine
Usine(s) d’assemblage
Flins (France)
Valladolid (Espagne)
Énergie
Essence
Moteur(s)
0.8 34 ch
0.9 34 ch
1.0 44/47 ch
1.1 45 ch
1.3 44/55/64 ch
1.4 58/63/93/110/160 ch
Transmission
Traction
Poids à vide
À partir de 730 kg
Dimensions
Longueur
3 521 mm
Largeur
1 525 mm
Hauteur
1 400 mm
Volume du coffre
270 dm3
Chronologie des modèles
Suivant
Renault Supercinq
Source: fr.wikipedia.org/wiki/Renault_5
More info:
www.renault-5.net/chronologie.htm
www.guide-autosport.com/renault/chronologie-renault/renau...
was lucky everyone else was in muted colours.
Line 2
according to www.histclo.com/gender/color.html ...
Gender and Color
Some authors use the modern associations between colors and genders as a way of determining gender in old paintings. There is much reason to believe, however that the blue-for-boys, pink-for-girls idea is a fairly modern one, even a 20th-century convention. Other colors such as the idea that wedding dresses must be white are fairly recent, many dating to the Victorian era.
Chronology
I'm not positive just when the color conventions for children developed. Despite the very strong modern color associations, available evidence suggests that it was not until well into the 20th Century that our modern pattern became fixed. Many such conventions were set during the Victorian era, but the modern gender associations with color does not appear to be one of them. While I have little information at this time, it is a subject I plan to pursue.
Specific Colors
The most widely held modern color convention is of course pink for girls and blue for boys. This association has not always been accepted and it appears to be a relatively modern one.
Blue
Blue was used for boys' charity school uniforms in the 17th Century. This was not because blue had any special significance, but in part because blue dyes, relatively easy to produce, were inexpensive. The Blue Coat schools are renowed to this day. Blue at times has been widely worn by girls. Some considered it more suitable for girls as it is a softer, more subdued color. Blue is also the color most associated with the Virgin Mary. In the Middles Ages, blue was often associated with true lovers and faithful servants. At the turn of the 19th Cenntury, blue was the preferred color for girls' waistbands on white Empire dresses.
Pink
HBC has noted pink used for children's clothes as early as the 18th century. We do not, however, yet fully understand the gender connotations. We have noted pink use in paintings and variety of observations. At one point pink was considered more of a boy's color, as a watered-down red, which is a fierce color) and blue was morefor girls. The associate of pink with bold, dramatic red clearly affected its use for boys. An American newspaper in 1914 advised mothers, "If you like the color note on the little one's garments, use pink for the boy and blue for the girl, if you are a follower of convention." [The Sunday Sentinal, March 29, 1914.] A woman's magazine in 1918 informed mothers, "There has been a great diversity of opinion on the subject, but the generally accepted rule is pink for the boy and blue for the girl. The reason is that pink being a more decided and stronger color is more suitable for the boy, while blue, which is more delicate and dainty, is pertier for the girl." [Ladies Home Journal, June, 1918] This undoubteldy strikes modern readers as very surprising indeed. Some sources suggest it was not until the 1940s that the modern gender associations with color became universally accepted.
Red
Laura Ingalls Wilder's in her Little House books talks in great detail about her upbringing in the 1870s-80s. Her blonde younger sister always had blue hair-ribbons and brunette Laura always had red, because apparently it was an accepted convention that blondes wore blue and brunettes red. I have tried to assess the colors in the hairbows worn by boys. Most appear to be white, but there are colored ones and some do appear to be red. A HBC reader tells us, "My Grandmother told me of time when Red dresses were a boys color and girls wore blue dresses girls. My whole life the boys' color was and still is blue.
Naked people take part in a cycling protest against pollution during the World Naked Bike Ride Day in Granada June 9, 2007. The aim of the worldwide event is to protest against the dependency on oil and the car culture. REUTERS/Pepe Marin (SPAIN)
TEMPLATE OUT. ONLINE USAGE PROHIBITED. NOT FOR SALE FOR INTERNET DISPLAY.
traveladventureeverywhere.blogspot.com/2024/06/saint-pete...
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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
Maria Rosetti, (née Mary Grant), (b. 1819, Guernsey - d. 1893, România), 1848 Revolutionary, Charity Worker, Auxiliary Nurse during the 1877 War, of Independence, Spouse of C. A. Rosetti. Portrait by Samuel Rosenthal entitled "Liberty"
She comes to life in the pages of an Anthology entitled:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
-----------------------------------------------------------------------------------------------------------
LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
Note the intricate motifs on the sleeve, reminiscent of motifs used in Celtic art.
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Ομιλία του Θεού | Η υπόσταση του Χριστού είναι η υποταγή στο θέλημα του Επουράνιου Πατέρα (Απόσπασμα Α')
Ο Παντοδύναμος Θεός λέει: «Ο ενσαρκωμένος Θεός ονομάζεται Χριστός και ο Χριστός είναι η σάρκα ντυμένη με το Πνεύμα του Θεού. Η σάρκα αυτή διαφέρει από κάθε άνθρωπο που είναι από σάρκα. Η διαφορά αυτή οφείλεται στο ότι ο Χριστός δεν είναι από σάρκα και αίμα, αντιθέτως είναι η ενσάρκωση του Πνεύματος. Διαθέτει και κανονική ανθρώπινη φύση, αλλά και ολοκληρωμένη θεϊκή φύση. Κανένας άνθρωπος δεν έχει τη θεϊκή Του φύση. Η κανονική ανθρώπινη φύση Του υποστηρίζει όλες τις κανονικές δραστηριότητές Του στη σάρκα, ενώ η θεϊκή Του φύση εκτελεί το έργο του Θεού του ίδιου. Και η ανθρώπινη αλλά και η θεϊκή Του φύση υποτάσσονται στο θέλημα του επουράνιου Πατέρα. Η υπόσταση του Χριστού είναι το Πνεύμα, δηλαδή η θεϊκή φύση. Επομένως, η υπόστασή Του είναι αυτή του Θεού του ίδιου. Η υπόσταση αυτή δε διακόπτει το ίδιο Του το έργο, ενώ ο ίδιος δε θα μπορούσε ποτέ να κάνει κάτι που θα κατέστρεφε το ίδιο Του το έργο, ούτε και θα ξεστόμιζε ποτέ λόγια που αντιτίθενται στο ίδιο Του το θέλημα. Επομένως, ο ενσαρκωμένος Θεός ουδέποτε θα εκτελούσε έργο που θα διέκοπτε την ίδια Του τη διαχείριση. Αυτό πρέπει να καταλάβουν όλοι οι άνθρωποι. Η ουσία του έργου του Αγίου Πνεύματος είναι η σωτηρία του ανθρώπου και γίνεται για χάρη της ίδιας της διαχείρισης του Θεού. Παρομοίως, το έργο του Χριστού είναι η σωτηρία του ανθρώπου και γίνεται για χάρη του θελήματος του Θεού. Δεδομένου ότι ο Θεός ενσαρκώνεται, υλοποιεί την υπόστασή Του εντός της σάρκας Του, έτσι ώστε η σάρκα Του να επαρκεί για να αναλάβει το έργο Του. Επομένως, ολόκληρο το έργο του Πνεύματος του Θεού αντικαθίσταται από το έργο του Χριστού κατά την περίοδο της ενσάρκωσης, ενώ στον πυρήνα όλου του έργου καθ’ όλη την περίοδο της ενσάρκωσης βρίσκεται το έργο του Χριστού. Δεν μπορεί να συνδυαστεί με το έργο οποιασδήποτε άλλης εποχής. Και εφόσον ο Θεός ενσαρκώνεται, εργάζεται υπό την ταυτότητα της σάρκας Του· εφόσον έρχεται στη σάρκα, τελειώνει στη σάρκα το έργο που οφείλει να εκτελέσει. Και το Πνεύμα του Θεού και ο Χριστός είναι ο Θεός ο ίδιος και Αυτός εκτελεί το έργο που οφείλει να εκτελεί και ασκεί τη διακονία που οφείλει να ασκεί».
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
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Model: Sam
Makeup Artist: Nina Fay
I need to shoot something new. I haven't shot anything beyond snapshots in what feels like forever (but in reality is a little over a week I think).
My photoshop has been playing up the last few days. Basically I can do anything with it as long as what I need isn't on the toolbar. I can only use whats in the drop down menus. Makes masking a big no no as well as a lot of other things which I use to edit (clone and heal come to mind)!! So all of the editing on this was done from the drop down menus. There was another pic I was editing and wanted to crop but couldn't. Boohoo :(
X Factor visit talk (feel free to skip):
I went to watch the X Factor auditions earlier in the week. They're having them with a live audience this year and I just so happened to have been on the reserve list for tickets. After waiting for 3 hours in the queue to get in, we finally made it in. Seats were pretty decent - the fact we could actually sit (after 3 hrs of standing) was godly. In 4 hours of show recording, we got to see about 20 people! Rubbish! Although on the shows it seems like the judges are super harsh and unforgiving, in reality they let almost everyone perform more than 1 song and they actually had discussions with the auditionees. Some things were said clearly for how they would be in the editing process for telly but that's to be expected. Surprisingly, most people who auditioned got through. There were a few people who were extremely talented and 1 bimbo type girl who turned out to have one of the best voices of the night!! Anyway that was it and you read it :-P haha
p.s. (added Jan 2010) the bimbo girl turned out to be Stacey
Designed by me
Несси
Придумано и сделано мной
20*20см
Tutorial Nessie - irina-chisa.livejournal.com/343325.html
Super collection of quotation from famous people.
You can download and share image about forever love quotes .
Below are some unique quote you can read :
Below are some quotes to remember on Constitution Day “To safeguard democracy May the Indian spirit prosper forever. To...
You will find 195+ of my poems HERE. fno.org/poetry/index.html
After two years of working security for concerts and sporting events, I decided it was time for a change and found a new job watching over a new office building during the "swing shift" — from 3PM to 11PM.
Nailing it
Sometimes you get what you deserve
Sometime you don’t
But come what may
Destiny does not lie waiting
For you
It is forged
Is a matter of your own doing
Your obstinate
Persistent
Effort
Your faith
And your sense of justice
You do what must be done
And Lady Luck be damned
She is fickle
Unreliable
And not worth waiting for
And the doing is what matters
Not the reward
The payoff
Or the jackpot
You do what must be done
As you see it
You seize the tiller
The hammer
And each day
Pointing into the wind
Nailing what needs nailing
Getting on with life
Making good things happen
© Jamie McKenzie, all rights reserved
You will find more of my poems and songs here
and in The Storm in Its Passing and Flights of Fancy.
My songs are at
www.youtube.com/watch?v=S9iTAYYAybI
gabbyjaws.blogspot.com/2025/02/foolish-heart.html
!Black Swan! Senna Dress
Stealthic Passion hair
LaraX
Lyrium Josy Static1 curvy
Ysoral Luxe Naomi necklace, earrings
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Strobist:
- B400 in a Foldable Medium Softbox in a vertical configuration with a grid and just one translucent panel. Firing at Full power. Camera left, subject's right angled towards subject. Sync Cord triggered.
- 580EX II at 24mm zoom setting firing at 1/4 power towards the subject from camera right with barn doors. Triggered by another 580 EX II.
Lightroom 2.0:
- Temp: 5500
- Tint: 0
- Contrast +100
- Strong Tone Curve
- Retouched the hair with the following settings:
-- Exposure +1.00
-- Contrast +100
-- Saturation +100
-- Sharpness +15
- Retouched the dress with the following settings:
-- Exposure +1.00
-- Contrast +100
-- Saturation +100
-- Clarity +25
- Darkened black spots on the background with a -4 exposure brush
Photoshop CS3:
- Noise Ninja at default settings, profile image
Setup:
www.flickr.com/photos/luisx_net/2811020633/
Camera info:
Camera: Canon 30D
Lens: Canon EF 50mm f/1.4 USM
Sv : 1/250 second
Av : f/8.0
ISO : 100
F.L.: 50mm
Credits:
Model: Brendaly Rivera
8/5/2015
COPENHAGEN ULTRACONTEMPORARY BIENNALE @ Venice Biennale
-------
The COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done in 3 platforms
the parliament is platform 2
Artist have to express closer to decision makers . in time , in the NOW
--------------
a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile during Venice Biennale contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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.
Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Thierry Geoffroy / Colonel
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.
25th April 1915
The Landings at Gallipoli
--------------
R. I. P.
Pte 288 Fothergill William Swinfen Cottrell
25.04.15 Lone Pine Memorial
No 5 Platoon, 'C' Company, 11th Battalion, 3rd Infantry Brigade, AIF
Initially he was reported as 'Missing' and only much later was he declared KIA. After a Court of Inquiry no-one actually seemed to have known what happened to him.
Family memorial inside St Mary's church, Chepstow
----------------
Capt George M. Dunlop (Cheltenham College)
25.04.15 V Beach cemetery (Special Memorial)
1st Battalion, Royal Dublin Fusiliers, 86th Brigade
"Dunlop - Killed in action at the Dardanells, on the 25th April, Captain George M. Dunlop, Royal Dublin Fusiliers, aged 20, youngest son of the late Archibald Dunlop, M.D. of St. Helens, Holywood, Co. Down"
"Deaths." Times [London, England] 4 May 1915: 1. The Times Digital Archive. Web. 24 Apr. 2015.
------------------
An account of the landing of the 1st Battalion, Royal Dublin Fusiliers (accessed 24 April 2015)
-------------------
Brevet Major T. H. C. Frankland (Cheltenham College)
25.04.15 Helles Memorial
1st Battalion, Royal Dublin Fusiliers, 86th Brigade
Brevet Major Thomas Hugh Colville Frankland, Royal Dublin Fusiliers, was the third son of the late Colonel Colville Frankland, of the same regiment, and grandson of Sir Frederick William Frankland, eighth baronet of Thirleby, Yorkshire. He was born in 1879, received his commission in 1899, was promoted lieutenant in the same year, and became captain in 1908. He served in the South African War, taking part in the operations in Natal and the Transvaal, and receiving the Queen's medal with three clasps and the King's medal with two clasps. Major Frankland was a flying officer in the Royal Flying Corps (Reserve), and was mentioned in despatches last year.
"Deaths." Times [London, England] 4 May 1915: 6. The Times Digital Archive. Web. 24 Apr. 2015.
-----------------
Lieut Alistair R. Macleod (Cheltenham College)
25.04.15 Helles Memorial
'Y' Battery, 15th Brigade, Royal Horse Artillery, 29th Division
Lieut A. R. Mcleod of 'Y' battery, RHA was killed at 'W' Beach, while acting as an Artillery observation officer. He and a small party of signallers had been landed early and had the job of communicating with the ships covering the advance.
Source: 29th Divisional Artillery: War Record and Honours Book 1915-1918 by Lt Col R.M. Johnson
"Macleod - Killed in action with the Meditarranean Expeditionary Fore, 25th-27th April, Lieut Alastair Roderick Macleod, Y Battery, Royal Horse Artillery, aged 23, second son of S. J. Fraser Macleod, K.C., Commissioner of the Board of Control, 25, Cornwall-gardens, SW."
"Deaths." Times [London, England] 4 May 1915: 1. The Times Digital Archive. Web. 24 Apr. 2015.
--------------------
Lieut-Cmndr George H. Pownall (Cheltenham College)
25.04.15 Portsmouth Naval Memorial
HMS Egmont
The only clue I have as to how he was killed comes in The Naval Review (Vol XLIV no 4 Oct 1956). In an article "The Submarine Passage of the Dardanelles 1915 p424, the writer describes the disastrous landing at 'V' Beach, and describes how he later discovered that Pownall had been killed while in the leading boat during the landing.
"Lieut-Commander George Harley Pownall, R.N., who fell during the landing operations in the Dardanells on April 25, was the only son of Frank Pownall, barrister-at-law, and late Registrar of the Royal College of Music, and of Mrs Frank Pownall. He was educated at 'Evelyns' and at Cheltenham Collage, and subsequently went to the Britania, passing in third on the list and passing out first. He served as midshipman in China under Sir Percy Scott in H.M.S. Terrible, and on coming home took his 'five firsts'. He chose the submarine branch of the service and after serving in B1 and having the charge of the A boats at Fort Block House and serving in C9 he was eventually appointed to the Onyx at Plymouth and finally 1st lieutenant to the Egmont, with command of the Malta Submarine Flotilla. He was born on August 30, 1883. In December 1910, he married Vera, daughter of Mr Henry Chichester or Verben, Cullompton, Devon."
"Deaths." Times [London, England] 4 May 1915: 6. The Times Digital Archive. Web. 24 Apr. 2015
------------------
Capt Claud Aspinall Wythes (Cheltenham College)
28.04.15 Helles Memorial (Missing, later declared KIA)
4th Battalion, Worcestershire Regt, 88th Brigade
"Captain Claud Aspinall Wythes, 4th Worcestershire Regiment, who was officially reported missing at the Dardanelles on April 28, and has since been unofficially reported killed, was the younger son of Mr and Mrs F. A. W. Wythe, Ravensden House, near Bedford. Captain Wythe, who was 29 years old, was educated at Cheltenham College and Coopers Hill. He joined the 3rd Worcestershire Regiment at Wynberg in 1908, and when the battalion came home he exchanged into the 4th at Bareilly, afterwards serving in Burma"
"Deaths." Times [London, England] 19 Oct. 1915: 12. The Times Digital Archive. Web. 24 Apr. 2015.
Medal card: WO 372/22/106109
Kew: WO 339/6935
-----------------
Capt Richard B. Shubrick (Cheltenham College)
28.04.15 Helles Memorial (Died of wounds aboard HMT Southland)
1st Battalion, Royal Inniskilling Fusiliers, 87th Brigade
"Shubrick - On the 28th April, on board the transport 'Southland', off the Dardanelles, of wounds received in action, Captain Richard Brian Shubrick, 1st Battalion the Royal Iniskilling Fusiliers, only and dearly-loved son of Richard and Harriet Shubrick, aged 24 years."
"Deaths." Times [London, England] 25 June 1915: 1. The Times Digital Archive. Web. 24 Apr. 2015.
Medal card: WO 372/18/57314
----------------
Pte 14398 Percy Edwin Clifford (Seven Stoke)
29.04.15 Helles
4th Battalion, Worcestershire Regt, 88th Brigade
--------------
Col Edmund P. Smith (Cheltenham College)
02.05.15 Redoubt Cemetery, Helles (Special Memorial)
17th Brigade, Royal Field Artillery, 29th Division
Medal Card: WO 372/18/132871
---------------
L/Cpl 12320 Vincent M. Jarvis (Hook Common)
04.06.15 Helles Memorial
4th Battalion, Worcestershire Regt, 88th Brigade
---------------
Gunner 64371 Edgar Frank Gray (Gloucester Christ Church)
06.06.15 Helles Memorial
10th Battery, Royal Field Artillery, 29th Division
----------------
Sir John de Robeck's Despatch (The Long, Long Trail)
------------------------------------------------------------------------------------------
Capt (& Adj) Robert Vere Clerk (Cheltenham College)
28.06.15 Helles Memorial
1st Battalion, att. to 7th Battalion, Cameronians (Scottish Rifles), 156th Brigade, 52nd (Lowland) Division - arrived at Gallipoli on 14th June
He was posted as 'Missing'.
"7th Battalion
28th June
Attack. Battn. in Bde Reserve.
Battalion provided fatigue parties nearly all night of 27th-28th (See Appendix I & II) bringing up ammunition to forward S.A.A. “Dumps”. Parties were also detailed to bring up scaling ladders & planks of timber from GULLY RAVINE to the forward trenches. One of these parties under CAPT. R. JOHNSTONE was caught in the Ravine by enemy shrapnel shell-fire & suffered 3 casualties (wounded).
At 11am however, the Battalion was in its allotted position. Soon after 11am the Batt. was sent forward to reinforce the assaulting party & their local reserves who had failed to capture the whole of their objective. 3 Platoons of “A” Coy & 2 Platoons of “D” Coy charged, gaining their objective in the Turks front line, part of H12a, “A” Coy with scarcely a casualty though “D” Coy suffered heavily from rifle, machine gun & shrapnel fire. Later, “B” Coy charged to take H12, but were caught by a battery of Turkish machine guns situated in their support lines behind H12 & only 50 men survived.
LIEUT. COLONEL J.B. WILSON was killed while leading “B” Coy in the charge. Posted as missing, but his body was recovered some months later & buried behind our lines. During the day many attempts were made by the remainder of 7th Sco. Rif. the Royal Scots & the Reserves of 29th Division (5th Royal Scots), to advance up a sap to H12a, but every attempt failed owing to shallowness of trench & enfilade machine gun fire.
BRIGADIER GENERAL SCOTT-MONCRIEFF was killed in one of these attempts to push up the sap.
PTE. R. SNEDDON “A” Coy rendered valuable service by carrying important messages to & from the captured trench. He had to cross over 100 yds. open ground under heavy rifle fire. He was awarded the Distinguished Conduct Medal. 2ND LIEUT E. WATSON was awarded the Military Cross for his work on this date. About 2am. 29th June those of the Batt. in the captured trenches were relieved by Hampshires & Essex & withdrawn to the Reserve Lines. Batt. reorganised."
Invasion Zone Forum (posting 18 Apr 2007, accessed 25 Apr 2015)
Medal Card: WO 372/4/165115
Kew: WO 76/490/21
-------------------
Capt Henry M. Floyd (Cheltenham College)
28.06.15 Twelve Tree Copse Cemetery (Special Memorial)
2nd Battalion, Royal Dublin Fusiliers
(The Times of 17 July 1915 corrects its initial report of his death by changing his battalion from the 2nd Battalion to the 1st Battalion, Royal Dublin Fusiliers, 86th Brigade)
Medal Card: WO 372/7/97973
Kew: WO 339/7452
------------------
Capt Frederick G Gudgeon (Cheltenham College)
28.06.15 Helles Memorial
16th Battalion, attached to 2nd Battalion, Royal Fusiliers, 86th Brigade
"When the battalion went back to the line once more, on June 23rd, they mustered 13 officers and 667 other ranks. Lieutenant Eustace commanded Y company, Captain Ayrton X and Captain Gudgeon Z. About three days later Captain FitzClarence arrived from England and took over the duties of the second in command.
On the 28th (June) the battalion again attacked, leading the brigade with three companies; and their advance, though successful, was dearly bought. They advanced about 1,000 yards, "a magnificent sight, the men never losing their formation under a heavy artillery and rifle fire." The ground had been carefully ranged and the bulk of the casualties were due to well-placed shrapnel. There were few from rifle fire; but in attempting to round off their achievement in the night the battalion became involved in hand-to-hand fighting. Few details of these encounters have been preserved ; but when the Fusiliers were relieved they were in the last stage of exhaustion. A twenty-four hours' struggle in oppressive heat with hardly any water has its unforgettable terrors.
The actual losses included nine officers: FitzClarence, Ayrton, Andrews killed ; Bulbeck, Freer and Harford wounded ; Gudgeon, Eustace and Willett missing. Of other ranks, 27 were killed, 175 wounded, and 57 missing. Not one of these officers had been with the battalion when it landed in Gallipoli, and the continuity was preserved by an ever-thinning thread. "
The Royal Fusiliers in the Great War: Chapter 6
Gudgeon was initially reported 'Missing'. Later 'Missing believed Killed'
Medal Card: WO 372/8/172280
Kew: WO 339/2395
-----------------
2nd Lieut Hugo F. Grantham (Cheltenham College)
28.06.15 Twelve Tree Copse Cemetery
3rd Battalion, Essex Regt
I assume that he had been attached to the 1st Battalion, Essex Regt, 88th Brigade
------------------
Lieut John T. Findlay (Cheltenham College)
28.06.15 Helles Memorial
8th Battalion, Cameronians (Scottish Rifles), 156th (Scottish Rifles) Brigade
--------------------
2nd Lieut John Maxwell (Cheltenham College)
12.07.15 Helles Memorial
5th Battalion, Royal Scots Fusiliers, 155th (South Scottish) Brigade
"Second Lieutenant John Maxwell, 5th Royal Scots Fusiliers, killed at the Dardanelles on July 12, joined the Reserve Battalion 5th Royal Scots in October, 1914, and obtained transfer to the 1/5th Royal Scots Fusiliers in March last. Educated at Cheltenham College and Grenoble University, France, he had served apprenticeship for chartered accountant. He was the youngest son of Mr W. J. Herries Maxwell, Convener of the Stewartry of Kirkcudbright and M.P. for Dumfriesshire 1892-95 and 1900-06"
"Deaths." Times [London, England] 30 July 1915: 4. The Times Digital Archive. Web. 25 Apr. 2015
-------------------
Corporal George Eagles (Twigworth)
13.07.15 Helles Memorial
Plymouth Battalion. Royal Naval Division, Royal Marine Light Infantry
Pte George Gilder (Southam)
13.07.15 Helles Memorial
Plymouth Battalion, Royal Navy Division, Royal Marine Light Infantry
----------------
Major Thomas L. Jowitt (Cheltenham College)
17.07.15 East Mudros. Died of wounds on Hospital ship Rewa, Dardanelles
5th Battalion, Highland Light Infantry, 157th (Highland Light Infantry) Brigade
Died of Wounds
Jowitt - On the 17th inst., of wounds received in Gallipoli, T. Lawrence Jowitt, Major, 5th H. L. I., beloved husband of Muriel Jowitt of Finglen, Campsie Glen, Stirlingshire, and young son of the late Albert Jowitt, of Sheffield, and Mrs Jowitt, of Meads, Edale, Derbyshire."
"Deaths." Times [London, England] 26 July 1915: 1. The Times Digital Archive. Web. 25 Apr. 2015
-------------------
Lieut Brian W. Onslow (Cheltenham College)
28.07.15 Beach Cemetery, Anzac
11th King Edward's Own Lancers (Probyn's Horse), Indian Army
"Onslow - On July 28th, killed in action at the Dardanelles, Brian Walton Onslow, Lieut, 11th K.E.O Lancers, A.D.C to Genl Sir Wm. Birdwood, dearly loved youngest son of the late Col. Gerald C. P. Onslow, Royal Engineers, and of Mrs Onslow, Camperdown, Crowborough, aged 22 years"
"Deaths." Times [London, England] 2 Aug. 1915: 1. The Times Digital Archive. Web. 25 Apr. 2015.
Extract from De Ruvigny's Roll of Honour 1914-1918:
"ONSLOW, BRIAN WALTON, Lieut., 11th (King's Edward's Own) Lancers (Probyn's Horse), Indian Army, and A.D.C. to Gen. Sir William Birdwood, yst. s. of the late Col. Gerald Charles Penrice Onslow, Royal Engineers, by his wife, Flora Frances Mary (Camperdown, Crowborough, co. Sussex), dau. of the late William Donald, of Lisle House, Cheltenham; b. Gillingham, co. Kent, 24 Aug. 1892; educ. Cheltenham College and the Royal Military College, Sandhurst; gazetted 2nd Lieut., Unattached List, 6 Sept. 1911; served his first year with the Royal West Kent Regt., passed into the Indian Army, 3 Dec. 1912, and was promoted Lieut. 6 Pee, 1913; took part in the landing at the Dardanelles, 25 April, 1915, and was killed in action there, 28 July, 1915; unm. Buried at Anzac Cove. He was mentioned in Gen. Sir Ian Hamilton's despatch of 22 Sept. [London Gazette. 5 Nov. 1915].
Gen. Sir William Birdwood wrote: “A finer fellow or better example of the true English gentleman never lived. A son of whom any mother must always have been most justly proud. Never out of temper, always doing what he could to help others, able far above the average. I had hoped a brilliant career was in store for him. Every individual here regrets and feels his death. I have lost the best and bravest of officers, the truest and trustiest of friends":
and a brother officer: "Few people could be so ill-spared. I never met or hope to meet a more lovable character; best at everything he ever did, both in work and play, and always so cheerful. I never heard anyone say anything but good of him, and he was quite the most popular officer both with the men and in the mess."
Admiral wrote from the Dardanelles: “He was a splendid young fellow. We on board only knew him for a few months, but in that short time he made himself very popular with us all. Everybody liked him and admired him, and we looked on him as the true ideal of a British soldier. I fully realise what a great loss his services must be to Gen. Birdwood and to the service generally."
And the Principal of Cheltenham College: “He has left an influence and power behind him that many an older man would be proud to leave." While at Cheltenham he won a mathematical scholarship, and was one of the most prominent members of the hockey eleven and football fifteen. He was a keen athlete, a good polo player, pigsticker, golfer, etc. Two of his brothers and two brothers-in-law are (1916) serving either in the Army or Navy. His eldest brother, Lieut.-Commander A. G. Onslow, D.S.C., was killed in action in the Battle of Jutland, 1 June, 1916."
Crowborough Roll of Honour (25 Apr 2015)
Medal Card: WO 372/27/3563
---------------
Capt Basil H. E. Beadon (Cheltenham College)
01.08.15 Helles Memorial
7th Battalion, Royal Welsh Fusiliers
------------------------------------------------------------------------------------------
6th to 27th August 1915
The August Offensive
--------------
Local Men who died
R. I. P.
Pte 21556 Walter Booton (Colwall Memorial)
06.08.15 Helles Memorial
4th Battalion, Worcestershire Regt, 88th Brigade, 29th Division
Cpl 15066 Leonard Mason (Brampton Abbots)
06.08.15 Helles Memorial
4th Battalion, Worcestershire Regt
Pte James Ravenhill (Ashleworth)
06.08.15 Helles, Gallipoli
4th Battalion, Worcestershire Regt
Pte 9958 P. A. Cook (North Nibley)
07.08.15 Helles Memorial
6th Battalion, Lincolnshire Regt, 33rd Brigade, 11th Northern Division (moved to Gallipoli in July. landed at Suvla Bay 7th August)
Pte 13394 William J. Cooke (Cheltenham - St John's)
07.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
(landed at Y beach 11/12th July)
Capt R. C. C. Frankland (Cheltenham College)
07.08.15 Helles Memorial
7th Battalion, North Staffordshire Regt
attached to 8th Battalion, Lancashire Fusiliers
Sgt 6/1061 Bernard Albert Humpherson (Newent)
07.08.15 Gallipoli, Chunuk Bair memorial
Canterbury Regt, NZ Expeditionary Force
Pte 125 Harry Phelps (Welland)
7.08.15 Lone Pine Memorial
'A' Company, 6th Battalion, 1st Australia Division, 2nd Infantry Brigade, AIF
Landed Gallipoli 18.05.16
Initially reported missing. Declared KIA on 24.08.16.
Lt-Col Harry M. Welstead (Cheltenham College)
07.08.15 Hill 10 Cemetery (Suvla)
9th Battalion, Lancashire Regt
Pte 12196 Raymond Baldwin (Huntley)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt, 39th Brigade, 13th (Western) Division
08.08.15 Gallipoli (Helles Memorial)
7th Battalion, Gloucestershire Regiment
08.08.15 Helles memorial
7th Battalion, Gloucestershire Regt
L/Cpl 10650 Cecil Cresswell (Gloucester - St Mary de Lode)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
L/Cpl 10300 Frederick C. Devereux (Gloucester St James)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
Pte 11124 W. J Ewington (Stanway)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
08.08.15 Helles memorial
7th Battalion, Gloucestershire Regt
Company Sgt Major 5964 Reuben Hart (Huntley)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
L/Cpl 10490 Harry W. Hooper (Stonehouse)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
Pte 10480 H. Marling (Eastington)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
L/Cpl 11540 Harry Price (Gloucester Christ Church)
08.08.15 Helles Memorial
'B' Company, 7th Battalion, Gloucestershire Regt
Sgt 10303 Thomas Shurmer (Gloucester St James)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
Pte 9976 Sidney G. Speck (Gloucester St James)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
Capt E. C. Willoughby (Cheltenham College)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
Pte 11317 Wintour Edward Webb (Elmore)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt.
Corp 11122 Denis F. Wright (Didbrook)
08.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
L/Cpl Hubert Hales (Gloucester Christ Church)
09.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
Major Hugo M. Taylor (Cheltenham College)
09.08.15 Helles Memorial
6th Battalion, Royal Irish Fusiliers, 31st Brigade, 10th (Irish) Division
Brigade landed at Suvla Bay on 6/7th August
-----------------------
09.08.15 Chunuk Bair (NZ) Memorial
1st Battalion, Wellington Mounted Rifles, New Zealand Expedition Force
To access Trooper Vale's service record: Auckland museum Online Cenotaph
Family memorial in Mathon churchyard, Herefordshire
-----------------------
Pte 12475 Sidney Williams (Chepstow)
09.08.15 Suvla
4th Battalion, South Wales Borderers, 40th Brigade, 13th (Western) Division
The division landed at Cape Helles between 6th and 6th July. Returned to Mudros at end of July, before returning and landing at Anzac Cove 3/5th August.
Pte 19588 Lugard Douglas Boswell (Welland)
10.08.15 Helles Memorial
9th Battalion, Worcestershire Regt, 39th Brigade, 13th (Western) Division
Major Richard L. Carnegy (Cheltenham College)
10.08.15 7th Field Ambulance Cemetery (Suvla)
6th Battalion, The King's Own (Royal Lancaster Regt), 38th Brigade, 13th (Western) Division
Capt Chas A. Cunningham (Cheltenham College)
10.08.15
Border Regt
L/Cpl George Hopkins (Blaisdon)
10.08.15 Gallipoli (Helles Memorial)
9th Worcestershire Regt
Sgt 11856 Alfred Ashby Kingsford (Chepstow)
10.08.15 Helles Memorial
8th Battalion, Welsh Regt, 40th Brigade, 13th (Western) Division
Pte 17016 Frederick John Preece (Coleford)
10.08.15 Helles Memorial
9th Battalion, Worcestershire Regt
Corp 12231 Christopher Hennessey (Cheltenham St Gregory)
11.08.18 Suvla
4th Battalion, South Wales Borderers
11.08.15 Helles Memorial
'A' Company, 7th Battalion, Gloucestershire Regt
Major William F. Walter (Cheltenham College)
11.08.15 Helles Memorial
General Staff, attached. as G.S.O. 2 to 53rd (Welsh) Div. formerly with Lancashire Fusiliers
Pte Ernest Archibald Willis (Apperley)
11.08.15 Gallipoli (Helles Memorial)
9th Battalion, Worcestershire Regt
2nd Lieut Edmund Buckley (Cheltenham College
12.08.15 Lancashire Landing Cemetery (Helles)
died of wounds on Clan MacGillvray (and would probably have been buried originally on one of the Aegian islands)
7th Battalion, Royal Welsh Fusiliers
Pte 11479 William A. Wootton (Gloucester Christ Church)
12.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
2nd Lieut M. B. G. Proctor-Beauchamp (Cheltenham College)
12.08.15 Helles Memorial
5th Battalion, Norfolk Regt
--------------------------
2nd Lieut Cornwallis C. W. Maude (Cheltenham College)
13.08.15 Walker's Ridge, ANZAC (originally buried at Russell's Top)
'C' Squadron, 9th Australian Light Horse, AIF
His service record B2455 (AWM) states that he enlisted as Pte 557 Wallace Maude in the 9th LH. They left Melbourne on 11 Feb 1915, as part of the 3rd Light Horse Brigade, sailing on the transport A10, Karroo They arrived in Egypt on 14th March. The Brigade landed at Gallipoli at the end of May, and was attached to the New Zealand and Australian Division. Maude's confirmation in the rank of Sergeant was dated 27 May 1915, after he had reached Gallipoli.
He was promoted to temporary 2nd Lieutenant on 7th August. The 9th LH was the reserve regiment for the Brigade's disastrous attack on the Nek on 7 August, and over the 4 days of fighting lost just 1 officer and 7 other ranks, while a further 2 officers and 26 other ranks were wounded
AWM. Since the officer killed as not Maude, then perhaps he was one of the two wounded officers, and died later.
The Battle of the Nek (Wikipedia)
--------------------------
Lt-Col Arthur S. Vanrenen (Cheltenham College)
15.08.15 Helles Memorial
5th Battalion, Royal Inniskilling Fusiliers
"Lieut-Col., 5th (Service) Battn. Royal Inniskilling Fusiliers, eldest surviving son of the late Gen Donald Campbell Vanrenen, Indian Army, by his wife, Julia (9, Lansdowne Place, Cheltenham), dau. of the late J. S. Sullivan, Bengal Medical Service;
b. Meerut, India. 14 Dec. 1862; educ. Cheltenham;
entered the Militia in 1879; was gazetted Lieut, from it, to the Lincolnshire Regt. 12 May. 1883; and promoted Capt. 23 Dec. 1893: served with Malay States Guides, 19 Nov. 1897-1908. being acting Commandant from 1905. He retired from the Lincolnshire Regt. on 3 Jan. 1903, but on the outbreak of war in Aug. 1914 offered his services, and was gazetted Major. 7th Battn.of that regt., 23 Sept. following, and Lieut.-Col.
commanding 5th Royal Inniskilling Fusiliers, 3 March, 1915; went to the Dardanelles, 10 July, 1915, and was killed in action at Kapanya Dagli, 15 Aug. 1915, after the landing at Suvla Bay. He was buried on the hill Arthur S. Vanrenen. where the battle took place. He m. at Bruges, Belgium, 28 Oct. 1897. Louisa Frances (Holmhurst, Bideford), dau. of Edwin Empson Isemonger. Colonial Treasurer of the Straits Settlements, and had two children : Esme Mildred, b. 2 Aug. 1898; and Joyce Marguerite, b. 12 May, 1903."
www.mocavo.co.uk/The-Roll-of-Honour-a-Biographical-Record...
"Vanrenen - Killed in action at the Dardanelles, on the 15th Aug., Lieut-Col Arthur Sanders Vanrenen, 5th Batt, R. Inniskilling Fusillieers, eldest surviving son of Gen. D. Vanrenen and Mrs Vanrenen, of Cheltenham, and loved husband of L. F. Vanrenen, Homhurst, Bideford, aged 52."
"Deaths." Times [London, England] 24 Aug. 1915: 1. The Times Digital Archive. Web. 26 Apr. 2015.
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17.08.15 Helles Memorial
7th Battalion, Gloucestershire Regt
Bronze memorial plaque inside the church (1916)
"In loving memory of Charles William Hopton, Sergeant in the 7th Gloucestershire Regt, only dearly loved son of John C. and Annie E. Hopton of Cowfield Farm, who died on the Hospital Ship Aquitania from wounds received at the Dardanelles and was buried at sea on August 17th 1915. Aged 24 years.
Greater Love hath no man than this That a man lay down his life for his friends"
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Pte 16137 Stephen Leonard (Stonehouse)
18.08.15 Alexandria, Egypt
7th Battalion, Gloucestershire Regt
Trooper Carey E. M. Carter (Quedgeley memorial)
21.08.15 Green Hill cemetery, Gallipoli, Turkey
1/1st Battalion, Royal Gloucestershire Hussars, 1st South Midland Mounted Brigade, British 2nd Mounted Division
The Hussars operated as infantry at Gallipoli
Trooper 2585 E. T. Crocker (North Nibley)
21.08.15 Suvla
1/1st Battalion, Royal Gloucestershire Hussars
Lieut Harry J. Cummins (Cheltenham College
21.08.15 Helles Memorial
5th Gurkha Rifles (Frontier Force), Indian Army
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Trooper R. H. Coxwell-Rogers (Cheltenham College)
21.08.15 Green Hill Cemetery (Suvla) special memorial
1/1st Royal Gloucestershire Hussars
Coxwell-Rogers - On the 21st Aug, at the Dardanelles, killed in action, Richard Hugh Coxwell-Rogers, only son of the late Godfrey Hugh Wheeler Coxwell-Rogers of Dowdeswell Court, Gloucestershire and of Mrs Coxwell-Rogers, of Donegal Cottage, Carrigaloe, County Cork"
"Deaths." Times [London, England] 11 Sept. 1915: 1. The Times Digital Archive. Web. 26 Apr. 2015.
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Private Osman Karl Fowler (Hartpury)
21.08.15 Green Hill cemetery, Suvla, Gallipoli
1/1st Battalion, Royal Gloucestershire Hussars
Major R. F. W. F. Leslie (Cheltenham College)
22.08.15 Helles Memorial
5th Battalion Dorsetshire Regt
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Major Archibald Roberts (Cheltenham College)
22.08.15 Pieta, Malta - died of wounds
6th Battalion, Yorkshire Regt
"Major Archibald Roberts, 6th Yorkshire Regiment was wounded at Gallipoli on the night of August 6, and died at Malta on August 22. He was the only son of the late Major A. H. Roberts, Bombay Artillery, and was born in India in 1871. He was educated at Cheltenham College and Sandhurst, and on receiving his commission was gazetted to the Middlesex Regimtent. A year later he joined the Indian Army, serving three years with the 37th Dogras, 11 years with the 24th Punjabis, and the remainder of his service was spent in the Hyderabad Contingent. He retired in 1910. On the outbreak of war Major Robert was appointed second in command of the 6th Yorkshire Regiment. He married in 1902 Millicent, second daughter of Mr E. C. P. Hull of Earlswood Mound, Redhill."
"Deaths." Times [London, England] 10 Sept. 1915: 7. The Times Digital Archive. Web. 26 Apr. 2015.
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Pte 10352 G. Mustoe (Sissington)
23.08.15 Cairo
7th Battalion, Gloucestershire Regt.
Pte 1171 James Winters (Dymock)
26.08.15 Suvla, Gallipoli
1/1st Battalion, Herefordshire Regt
Sgt (Acting Q.M.S?) 856 C. Arkell Coldicot (Stanton
19.09.15 Alexandria
1/1st Battalion, Warwickshire Yeomanry
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Pte 8384 Edward J. Smith (Coaley)
26.10.15 Suvla, Gallipoli
7th Battalion, Gloucestershire Regt
Sgt 174 John Huckson (Upton Bishop)
03.11.15 Helles Memorial
1/1st Battalion, Herefordshire Regt
Cpl 21156 Thomas Gibbins (Brimpsfield)
13.11.15 Suvla, Gallipoli
7th Battalion, Gloucestershire Regt
Pte Charles Hieron (Hempsted)
07.12.15 Helles Memorial
7th Battalion, Gloucestershire Regt.
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December 1915 / January 1916:
The Evacuation
Local Men who died
R. I. P.
Pte 20498 Sidney Burrows (Coleford)
08.01.16 Helles Memorial
7th Battalion, Gloucestershire Regt
Pte 21401 James Hannis (Cranham)
08.01.16 Helles Memorial
7th Battalion, Gloucestershire Regt
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Sir John de Robeck's Gallipoli Evacuation Despatch (The Long, Long Trail)
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The Main Battlegrounds
(with the local regiments involved in the battles)
Cape Helles
4th Battalion, Worcestershire Regt, 88th Brigade, 29th Division
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ANZAC Bay
New Zealand and Australian Division
7th Battalion, Gloucestershire Regt, 39th Brigade, 13th (Western) Division
9th Battalion, Worcestershire Regt, 39th Brigade, 13th (Western) Division
A walk around Walker's Ridge (Australian Dept. of Veterans Affairs)
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Suvla Bay
Royal Gloucestershire Hussars, 1st South Midland Mounted Brigade, 2nd Mounted Division (The Hussars operated as infantry at Gallipoli)
1/1st Herefordshire Regt, 158th (North Wales) Brigade, 53rd (Welsh) Division
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Photograph: Bronze memorial plate - the Royal Gloucestershire Hussars on Chocolate Hill, Gallipoli 21st August 1915, looking out across the Salt Lake towards Suvla bay.
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Talk at Australian War Memorial by Nigel Steel, Chief Historian, Imperial War Museum
April 2007
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"Medical Evacuation of Casualties
Unique problems were faced at Gallipoli with the treatment and evacuation of wounded and sick troops. The initial amphibious landing was a new development in the history of warfare and this meant that the medical services suffered from a lack of training, knowledge as to what to expect and the type of casualties that would be experienced. This together with lack of planning and problems with communication meant that the medical evacuation of April 25th and following days was a very inadequate service, causing much suffering and criticism on the home front."
with additional (PDF) note available for download: Conditions: Evacuation of the Sick and Wounded from Gallipoli
Two thousand years ago, the Lord Jesus prophesied, "And at midnight there was a cry made, Behold, the bridegroom comes; go you out to meet him" (Matthew 25:6). "Behold, I stand at the door, and knock: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me" (Revelation 3:20). For these two thousand years, believers in the Lord have been watching and waiting for the Lord to knock at their door. But how will the Lord knock at our door when He comes again? … In the last days, some people testify that the Lord Jesus has already returned, and He is the incarnated Almighty God, who is doing the judgment work in the last days. This message sends shock waves through the religious world.
… The heroine of this film, Yang Aiguang has believed in the Lord for decades, and she has been working and preaching for the Lord enthusiastically and waiting to welcome the return of Him. One day, some people knocked at her door and told Yang Aiguang and her husband a news that the Lord Jesus has returned, and read the words of Almighty God to them. The couple were deeply moved by the words of Almighty God. However, because of being deceived and bound by the fallacies of the pastor and elder, Yang Aiguang drove the preachers of The Church of Almighty God out and slammed the door shut on them. Later on, the preachers came many times to knock at her door, read to her the words of Almighty God and bear witness to the work of Almighty God in the last days. During that period, the pastor disrupted and blocked her time after time, and she had been hesitating. But through listening to the words of Almighty God, Yang Aiguang understood the truth and had the ability to discern the rumors and fallacies of the pastor and elder. She finally saw the way the Lord knocks at people's door when He returns and how to welcome His second coming. … After the dense fog cleared off, Yang Aiguang heard the voice of God and recognized the fact that Almighty God is indeed the returned Lord Jesus.
The American Roots of Nazi Eugenics -> hnn.us/articles/1796.html edwinblack.com/
<- By Edwin Black. An excerpt of the article below:
Mr. Black is the author of IBM and the Holocaust and the just released War Against the Weak: Eugenics and America's Campaign to Create a Master Race, from which the following article is drawn.
Hitler and his henchmen victimized an entire continent and exterminated millions in his quest for a co-called "Master Race."
But the concept of a white, blond-haired, blue-eyed master Nordic race didn't originate with Hitler. The idea was created in the United States, and cultivated in California, decades before Hitler came to power. California eugenicists played an important, although little known, role in the American eugenics movement's campaign for ethnic cleansing.
Eugenics was the racist pseudoscience determined to wipe away all human beings deemed "unfit," preserving only those who conformed to a Nordic stereotype. Elements of the philosophy were enshrined as national policy by forced sterilization and segregation laws, as well as marriage restrictions, enacted in twenty-seven states. In 1909, California became the third state to adopt such laws. Ultimately, eugenics practitioners coercively sterilized some 60,000 Americans, barred the marriage of thousands, forcibly segregated thousands in "colonies," and persecuted untold numbers in ways we are just learning. Before World War II, nearly half of coercive sterilizations were done in California, and even after the war, the state accounted for a third of all such surgeries.
California was considered an epicenter of the American eugenics movement. During the Twentieth Century's first decades, California's eugenicists included potent but little known race scientists, such as Army venereal disease specialist Dr. Paul Popenoe, citrus magnate and Polytechnic benefactor Paul Gosney, Sacramento banker Charles M. Goethe, as well as members of the California State Board of Charities and Corrections and the University of California Board of Regents.
Eugenics would have been so much bizarre parlor talk had it not been for extensive financing by corporate philanthropies, specifically the Carnegie Institution, the Rockefeller Foundation and the Harriman railroad fortune. They were all in league with some of America's most respected scientists hailing from such prestigious universities as Stamford, Yale, Harvard, and Princeton. These academicians espoused race theory and race science, and then faked and twisted data to serve eugenics' racist aims.
Stanford president David Starr Jordan originated the notion of "race and blood" in his 1902 racial epistle "Blood of a Nation," in which the university scholar declared that human qualities and conditions such as talent and poverty were passed through the blood.
In 1904, the Carnegie Institution established a laboratory complex at Cold Spring Harbor on Long Island that stockpiled millions of index cards on ordinary Americans, as researchers carefully plotted the removal of families, bloodlines and whole peoples. From Cold Spring Harbor, eugenics advocates agitated in the legislatures of America, as well as the nation's social service agencies and associations.
The Harriman railroad fortune paid local charities, such as the New York Bureau of Industries and Immigration, to seek out Jewish, Italian and other immigrants in New York and other crowded cities and subject them to deportation, trumped up confinement or forced sterilization.
The Rockefeller Foundation helped found the German eugenics program and even funded the program that Josef Mengele worked in before he went to Auschwitz.
Much of the spiritual guidance and political agitation for the American eugenics movement came from California's quasi-autonomous eugenic societies, such as the Pasadena-based Human Betterment Foundation and the California branch of the American Eugenics Society, which coordinated much of their activity with the Eugenics Research Society in Long Island. These organizations--which functioned as part of a closely-knit network--published racist eugenic newsletters and pseudoscientific journals, such as Eugenical News and Eugenics, and propagandized for the Nazis.
Eugenics was born as a scientific curiosity in the Victorian age. In 1863, Sir Francis Galton, a cousin of Charles Darwin, theorized that if talented people only married other talented people, the result would be measurably better offspring. At the turn of the last century, Galton's ideas were imported into the United States just as Gregor Mendel's principles of heredity were rediscovered. American eugenic advocates believed with religious fervor that the same Mendelian concepts determining the color and size of peas, corn and cattle also governed the social and intellectual character of man.
In an America demographically reeling from immigration upheaval and torn by post-Reconstruction chaos, race conflict was everywhere in the early twentieth century. Elitists, utopians and so-called "progressives" fused their smoldering race fears and class bias with their desire to make a better world. They reinvented Galton's eugenics into a repressive and racist ideology. The intent: populate the earth with vastly more of their own socio-economic and biological kind--and less or none of everyone else.
The superior species the eugenics movement sought was populated not merely by tall, strong, talented people. Eugenicists craved blond, blue-eyed Nordic types. This group alone, they believed, was fit to inherit the earth. In the process, the movement intended to subtract emancipated Negroes, immigrant Asian laborers, Indians, Hispanics, East Europeans, Jews, dark-haired hill folk, poor people, the infirm and really anyone classified outside the gentrified genetic lines drawn up by American raceologists.
How? By identifying so-called "defective" family trees and subjecting them to lifelong segregation and sterilization programs to kill their bloodlines. The grand plan was to literally wipe away the reproductive capability of those deemed weak and inferior--the so-called "unfit." The eugenicists hoped to neutralize the viability of 10 percent of the population at a sweep, until none were left except themselves.
Eighteen solutions were explored in a Carnegie-supported 1911 "Preliminary Report of the Committee of the Eugenic Section of the American Breeder's Association to Study and to Report on the Best Practical Means for Cutting Off the Defective Germ-Plasm in the Human Population." Point eight was euthanasia.
The most commonly suggested method of eugenicide in America was a "lethal chamber" or public locally operated gas chambers. In 1918, Popenoe, the Army venereal disease specialist during World War I, co-wrote the widely used textbook, Applied Eugenics, which argued, "From an historical point of view, the first method which presents itself is execution… Its value in keeping up the standard of the race should not be underestimated." Applied Eugenics also devoted a chapter to "Lethal Selection," which operated "through the destruction of the individual by some adverse feature of the environment, such as excessive cold, or bacteria, or by bodily deficiency."
Eugenic breeders believed American society was not ready to implement an organized lethal solution. But many mental institutions and doctors practiced improvised medical lethality and passive euthanasia on their own. One institution in Lincoln, Illinois fed its incoming patients milk from tubercular cows believing a eugenically strong individual would be immune. Thirty to forty percent annual death rates resulted at Lincoln. Some doctors practiced passive eugenicide one newborn infant at a time. Others doctors at mental institutions engaged in lethal neglect.
Nonetheless, with eugenicide marginalized, the main solution for eugenicists was the rapid expansion of forced segregation and sterilization, as well as more marriage restrictions. California led the nation, performing nearly all sterilization procedures with little or no due process. In its first twenty-five years of eugenic legislation, California sterilized 9,782 individuals, mostly women. Many were classified as "bad girls," diagnosed as "passionate," "oversexed" or "sexually wayward." At Sonoma, some women were sterilized because of what was deemed an abnormally large clitoris or labia.
In 1933 alone, at least 1,278 coercive sterilizations were performed, 700 of which were on women. The state's two leading sterilization mills in 1933 were Sonoma State Home with 388 operations and Patton State Hospital with 363 operations. Other sterilization centers included Agnews, Mendocino, Napa, Norwalk, Stockton and Pacific Colony state hospitals.
Even the United States Supreme Court endorsed aspects of eugenics. In its infamous 1927 decision, Supreme Court Justice Oliver Wendell Holmes wrote, "It is better for all the world, if instead of waiting to execute degenerate offspring for crime, or to let them starve for their imbecility, society can prevent those who are manifestly unfit from continuing their kind…. Three generations of imbeciles are enough." This decision opened the floodgates for thousands to be coercively sterilized or otherwise persecuted as subhuman. Years later, the Nazis at the Nuremberg trials quoted Holmes's words in their own defense.
Only after eugenics became entrenched in the United States was the campaign transplanted into Germany, in no small measure through the efforts of California eugenicists, who published booklets idealizing sterilization and circulated them to German official and scientists.
Hitler studied American eugenics laws. He tried to legitimize his anti-Semitism by medicalizing it, and wrapping it in the more palatable pseudoscientific facade of eugenics. Hitler was able to recruit more followers among reasonable Germans by claiming that science was on his side. While Hitler's race hatred sprung from his own mind, the intellectual outlines of the eugenics Hitler adopted in 1924 were made in America.
During the '20s, Carnegie Institution eugenic scientists cultivated deep personal and professional relationships with Germany's fascist eugenicists. In Mein Kampf, published in 1924, Hitler quoted American eugenic ideology and openly displayed a thorough knowledge of American eugenics. "There is today one state," wrote Hitler, "in which at least weak beginnings toward a better conception [of immigration] are noticeable. Of course, it is not our model German Republic, but the United States."
Hitler proudly told his comrades just how closely he followed the progress of the American eugenics movement. "I have studied with great interest," he told a fellow Nazi, "the laws of several American states concerning prevention of reproduction by people whose progeny would, in all probability, be of no value or be injurious to the racial stock."
Hitler even wrote a fan letter to American eugenic leader Madison Grant calling his race-based eugenics book, The Passing of the Great Race his "bible."
Hitler's struggle for a superior race would be a mad crusade for a Master Race. Now, the American term "Nordic" was freely exchanged with "Germanic" or "Aryan." Race science, racial purity and racial dominance became the driving force behind Hitler's Nazism. Nazi eugenics would ultimately dictate who would be persecuted in a Reich-dominated Europe, how people would live, and how they would die. Nazi doctors would become the unseen generals in Hitler's war against the Jews and other Europeans deemed inferior. Doctors would create the science, devise the eugenic formulas, and even hand-select the victims for sterilization, euthanasia and mass extermination."
For more reading:
www.bankingonbaghdad.com/archive/hnn20041122/7774.html
www.waragainsttheweak.com/offSiteArchive/HitlerDebtToAmer...