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заказать деревянные окна sotdel.ru/dereviannye-okna.html #sotdel #vk #скидки #сотдел #окна Преимущества современных деревянных окон: прослужат до 50 лет сохранят тепло и микроклимат жилища защитят от посторонних шумов благотворно отразятся на Вашем здоровье благодаря смоле, выделяемой хвойными породами деревьев Обо всем этом свидетельствуют многочисленные положительные отзывы о деревянных окнах. заказать деревянные окна sotdel.ru/dereviannye-okna.html Современные деревянные окна не только защищают наш дом от капризов природы, но и вносят заметный штрих в интерьер. Технологический процесс и новейшие разработки в области остекления позволяют эксплуатировать современные деревянные окна более 100 лет. Современная технология изготовления деревянных окон – из специального клееного бруса. Благодаря этой технологии рама и створки окна не деформируются во время всего срока службы. Изготовление деревянных окон – процесс трудоемкий и долгий. Помимо сборки самих конструкций, необходимо также тщательно подобрать составы для их пропитки. Дерево – натуральный природный материал и нуждается в особой защите от насекомых, влаги и ультрафиолета. Всех этих проблем легко избежать, используя лаки, краски и грунты на водной основе финской компании Teknos, применяемые на нашем производстве. www.facebook.com/110372909302943/photos/a.274679919538907...
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Palabras de Dios :“El mismo día en que nació ese ganado diverso, por la palabra del Creador también surgió una plétora de insectos, unos detrás de otros. Aunque eran los más pequeños de los seres vivientes entre todas las criaturas, su fuerza vital seguía siendo la milagrosa creación del Creador, y no llegaron demasiado tarde… Algunos agitaban sus pequeñas alas, mientras otros reptaban lentamente; unos saltaban y rebotaban, otros se tambaleaban; unos salían disparados hacia delante, mientras otros retrocedían rápidamente; unos se movían de costado, otros saltaban arriba y abajo… Todos estaban ocupados tratando de encontrar un hogar para sí: unos se dirigían a la hierba, otros se disponían a cavar hoyos en la tierra, algunos volaban hasta los árboles, escondidos en los bosques… Aunque pequeños en tamaño, no estaban dispuestos a resistir el tormento de un estómago vacío, y después de encontrar sus propios hogares, se apresuraban a buscar comida para alimentarse. Unos trepaban por el pasto para comer sus tiernas hojas, algunos se llenaban la boca de polvo y se lo proporcionaban a su estómago, comiendo con mucho gusto y placer (para ellos, incluso el polvo es un sabroso lujo); algunos estaban escondidos en los bosques, pero no se detuvieron para descansar, ya que la savia de las lustrosas hojas verde oscuro proveían una comida suculenta… Tras quedar satisfechos, los insectos no cesaban aún su actividad; aunque pequeños en estatura, poseían una tremenda energía y un entusiasmo ilimitado, y por eso son los más activos y laboriosos de todas las criaturas. Nunca perezosos, tampoco se complacieron en el descanso. Una vez saciados, seguían esforzándose en sus labores por el bien de su futuro, ocupándose y corriendo para su mañana, para su supervivencia… Canturreaban suavemente baladas de melodías y ritmos diversos para animarse y alentarse. También añadían gozo al pasto, a los árboles, y a cada pulgada de suelo, haciendo que cada día y cada año fueran únicos… Con sus propios lenguajes y sus propios caminos, pasaban información a todas las cosas creadas sobre la tierra. Y usando su propia trayectoria vital especial, marcaban todas las cosas, dejando huellas sobre ellas… Mantenían una estrecha relación con el suelo, el pasto y los bosques, y les aportaban vigor y vitalidad; trajeron las exhortaciones y los saludos del Creador a todas las cosas vivientes…"
de "La Palabra manifestada en carne"
Recomendación : La venida del Señor
From the website...
www.encinojon.com/greg/johnhub.html
JOHN CARL HUBINGER (1851-1907)
HUBINGER, JOHN C., manufacturer, millionaire and public benefactor, is one of the most remarkable men of this country; a Napoleon in business affairs, a man of destiny, through his own indomitable will, tireless energy and brilliant genius he has built up a magnificent structure on a financial foundation as solid as the rock of Gibraltar.
Mr. Hubinger was born in New Orleans, La., forty-six years ago, and is the son of John F. Hubinger, who was born in Bavaria, in 1828, and still survives, as well as his mother, who is a native of France.
It will this be seen that Mr. Hubinger, having been born in Louisiana, is a Creole, a term peculiar to the state, and having the same significance as Buckeye to those born in Ohio, or Nutmegs to those who first saw the light of day in Connecticut.
At the age of 4 his family moved north and at Falmouth, Ky., young Hubinger received in the public schools the first and only educational training he ever received from any school system; this experience covered about four years of study, and he applied himself so closely that he got a fair foundation, which he has since built on by private study and observation, until to-day he can be considered a well informed man outside of business matters, in which he excels.
His career has been an eventful one, full of exciting incidents, and it is a remarkable fact that he was 30 years of age before he amassed his first thousand dollars, having innumerable ups and downs in life, but never despairing and always aggressive.
It would require a volume the size of this to recount a history of his life from the time he started out to earn a living up to the present time when he controls millions of business interests, and is at the zenith of his usefulness. We will not attempt anything more than a passing notice of such facts as will interest his friends.
Of an inventive turn, he secured several patents which he sold to more or less advantage, and tried innumerable schemes at one time or another, succeeding at times and losing at others his little capital, through the boldness of his methods.
The idea of Elastic starch came to him years ago, when he acted as agent for a starch concern, and he had it constantly in mind, eventually arriving at the secret which he holds alone to-day, and which has make Elastic starch the most popular in the market.
In connection with his two brothers he founded the Elastic Starch company, at New Haven Conn., under the name of The J. C. Hubinger Bros.' Co., and at a later period opened another factory at Keokuk, Iowa, where he subsequently amassed a large fortune and became known as one of the most enterprising and public spirited citizens in the state.
In the west his interests are colossal, as well as the ventures which he has made successful; among his holdings being large tracts of real estate, improved and unimproved, in different parts of the western country.
He is owner of the Keokuk street railway system, the electric light plant and system, the Mississippi Valley Telephone company, capitalized at $2,225,000. This takes in a large number of cities in that section, and is the most dangerous and largest competitor of the Bell Telephone company in America, having over 10,000 telephone subscribers.
A man of rare executive ability, he finds time to personally direct the policy of all the enterprises in which he is interested, and at the same time to evolve many more brilliant schemes of a local nature, all of which are put through in a practical and successful way.
The magnitude of his transactions almost surpass belief; in the starch business they dispose of about 25,000,000 packages each year, the legitimate profits from which are enormous, and in other ways he handles not less than $3,000,000 annually.
His liberality is the marvel of the country in which he is known, and at his palatial home, overlooking the historic Mississippi river, he and his charming wife dispense a boundless hospitality to those fortunate enough to be their guests. All the luxuries and benefits that wealth can procure are there supplied, and an atmosphere of culture and refinement pervade the entire establishment.
Mr. Hubinger's family consists of himself, wife and four children, and while fond of promoting large enterprises, he is still fonder of the home circle and there spends all of his time that is not taken up by business cares.
-- Gue, B. F. Biographies and portraits of the progressive men of Iowa Des Moines : Conway & Shaw, 1899. Pages 256-257.
CHRONOLOGY
Born in March 1852 in New Orleans, LA.
Moved to Falmouth, KY, then to Keokuk, IA.
First jobs: laborer for Tim Ford, a railroad contractor; also a broom maker.
Moved to New Haven, CT.
Developed "Elastic" laundry starch in 1871, and sold it door to door by bicycle.
Joined by his two brothers, he founded the J.C. Hubinger Bros. Co.
Married Sadie Watts July 16, 1884.
Moved back to Keokuk in 1887 (1885?)
Established first Keokuk factory at 208 Main sometime after August 1887.
Built mansion on Grand Ave. Across the street was Hubinger Park.
Built a telephone exchange at Sixth and Blondeau; expanded during the 1890's.
Owner of the Keokuk Electric Railway System, the Electric Light and Power plant,
the Mississippi Valley Telephone Company, and many other investments.
Second marriage to Viola Miller in June 1896.
In 1900 business was so successful, he reopened the J.C. Hubinger Co. factory
on Bank St., introducing "Red Cross" and "Hubinger's Best" brand starches.
In the following years, however, the company went downhill as the use of
starch in clothing went out of style.
Died in near-poverty January 27, 1908 in a boarding house on High St.
Was buried in Oakland Cemetery, Keokuk, IA.
The Hubinger family sold the Keokuk starch factory in 1926; today, the
Hubinger company produces a wide variety of corn products including
starch, oil and syrup.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
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We have crafted the Creative Juice template with a showcase portfolio in mind. It can be easily used for creative portfolios, by web agencies / studios, small design firms and freelancers just to name a few.
Ifive X2 Tablet PC Android 4.1 RK3188 Quad core 2GB 32GB 8.9 inch IPS Screen
Ifive Tablet PC develop and produce leading functional tablet PC products. Ifive Tablet PC is supported by numbers of the country's top quality material suppliers, strong and solid manufacturing team and consisting of experienced engineers in the purse of excellent product with high quality performance, stable functionality, trendy outlook, users friendly platform. "The pursuit of excellence with embracing sense of fashion" is the brand philosophy and basis of our product development and manufacturing criteria.
The FNF Ifive X2 is a wonderful quad-core tablet PC with high performance, powerful functions and stylish design. It adopts Android 4.1 OS, and is powered by Rockchip RK3188 Cortex-A9 quad-core 1.6GHz CPU, Mali-400 MP4 GPU and 2GB DDR3 RAM to ensure its running more stably. 8.9-inch 1920*1200 pixels IPS screen with full viewing angle and 10-point capacitive touch design will bring you exquisite visual enjoyment, and also make your operation more conveniently.
It supports WiFi, external 3G and Ethernet networks for surfing internet, and also supports wireless Bluetooth for data transmission. With a HDMI output, you can transfer the videos/photos in the tablet to your HDTV and share them with your families and friends. Besides, it has a 2.0MP front camera for self capturing and enjoying online video chat, and a 5.0MP back camera with auto focus for shooting interesting things and moments.
Model: Ifive X2 Tablet PC
Color: White
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Operating System: Android 4.1
CPU: Rockchip RK3188 Cortex-A9 quad-core 1.6GHz
GPU: Mali-400 MP4
RAM: 2GB DDR3
ROM (Nand Flash): 32GB
Expansion Memory: Support micro SD/TF card up to 32GB
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Ifive X2 Display Screen
Screen Size: 8.9-inch
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GPS Navigation: NO
Wi-Fi: Support, IEEE802.11b/g/n
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Bluetooth: Support Bluetooth V2.1(Support wireless Bluetooth for data transmission, support wireles Bluetooth mouse and keyboard for easy operation, and also support Bluetooth headset for listening to music)
USB: Support USB 2.0 high speed data transmission
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Camera: Dual camera, 2.0 million pixels front camera, 5.0 million pixels back camera with auto focus
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BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
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Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 9 Saturday October 26 All Game Live Streaming Online.
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Fixture Details
2013 NCAA College Football Week 9
Saturday October 26
Fresno State Bulldogs V San Diego State Aztecs-From:-10:30pm
2013 NCAA College Football Week 9
ALL LIVE GAME SCHEDULE
Saturday October 26
Oklahoma State Cowboys V Iowa State Cyclones-From:-12:00pm
Miami (FL) Hurricanes V Wake Forest Demon Deacons-From:-12:00pm
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Louisville Cardinals V South Florida Bulls-From:-12:00pm
UCF Knights V Connecticut Huskies-From:-12:00pm
Texas A&M Aggies V Vanderbilt Commodores-From:-12:21pm
Alabama Crimson Tide V Tennessee Volunteers-From:-03:30pm
Florida State Seminoles V North Carolina State Wolfpack-From:-03:30pm
Clemson Tigers V Maryland Terrapins-From:-03:30pm
Northern Illinois Huskies V Eastern Michigan Eagles-From:-03:30pm
Texas Tech Red Raiders V Oklahoma Sooners-From:-03:30pm
Virginia Tech Hokies V Duke Blue Devils-From:-03:30pm
Baylor Bears V Kansas Jayhawks-From:-07:00pm
LSU Tigers V Furman Paladins-From:-07:00pm
Missouri Tigers V South Carolina Gamecocks-From:-07:00pm
Oregon Ducks V UCLA Bruins -From:-07:00pm
Auburn Tigers V Florida Atlantic Owls-From:-07:00pm
Ohio State Buckeyes V Penn State Nittany Lions-From:-08:00pm
Oregon State Beavers V Stanford Cardinal-From:-10:30pm
Fresno State Bulldogs V San Diego State Aztecs-From:-10:30pm
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
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Full HD widescreen Playback Support
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 9 Saturday October 26 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/watch-connectic...
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Fixture Details
2013 NCAA College Football Week 9
Saturday October 26
Fresno State Bulldogs V San Diego State Aztecs-From:-10:30pm
2013 NCAA College Football Week 9
ALL LIVE GAME SCHEDULE
Saturday October 26
Oklahoma State Cowboys V Iowa State Cyclones-From:-12:00pm
Miami (FL) Hurricanes V Wake Forest Demon Deacons-From:-12:00pm
Nebraska Cornhuskers V Minnesota Golden Gophers-From:-12:00pm
Louisville Cardinals V South Florida Bulls-From:-12:00pm
UCF Knights V Connecticut Huskies-From:-12:00pm
Texas A&M Aggies V Vanderbilt Commodores-From:-12:21pm
Alabama Crimson Tide V Tennessee Volunteers-From:-03:30pm
Florida State Seminoles V North Carolina State Wolfpack-From:-03:30pm
Clemson Tigers V Maryland Terrapins-From:-03:30pm
Northern Illinois Huskies V Eastern Michigan Eagles-From:-03:30pm
Texas Tech Red Raiders V Oklahoma Sooners-From:-03:30pm
Virginia Tech Hokies V Duke Blue Devils-From:-03:30pm
Baylor Bears V Kansas Jayhawks-From:-07:00pm
LSU Tigers V Furman Paladins-From:-07:00pm
Missouri Tigers V South Carolina Gamecocks-From:-07:00pm
Oregon Ducks V UCLA Bruins -From:-07:00pm
Auburn Tigers V Florida Atlantic Owls-From:-07:00pm
Ohio State Buckeyes V Penn State Nittany Lions-From:-08:00pm
Oregon State Beavers V Stanford Cardinal-From:-10:30pm
Fresno State Bulldogs V San Diego State Aztecs-From:-10:30pm
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
Full HD widescreen Playback Support
NCAA Collage Football fans and supporters around the globe watch 2013 NCAA College Football Week 9 Saturday October 26 All Game Live Streaming Online.
CLICK THE LINK BELOW TO GET LIVE TV LINK
ncaafootball2013live.blogspot.com/2013/10/watch-connectic...
ncaafootball2013live.blogspot.com/2013/10/watch-connectic...
Fixture Details
2013 NCAA College Football Week 9
Saturday October 26
Fresno State Bulldogs V San Diego State Aztecs-From:-10:30pm
2013 NCAA College Football Week 9
ALL LIVE GAME SCHEDULE
Saturday October 26
Oklahoma State Cowboys V Iowa State Cyclones-From:-12:00pm
Miami (FL) Hurricanes V Wake Forest Demon Deacons-From:-12:00pm
Nebraska Cornhuskers V Minnesota Golden Gophers-From:-12:00pm
Louisville Cardinals V South Florida Bulls-From:-12:00pm
UCF Knights V Connecticut Huskies-From:-12:00pm
Texas A&M Aggies V Vanderbilt Commodores-From:-12:21pm
Alabama Crimson Tide V Tennessee Volunteers-From:-03:30pm
Florida State Seminoles V North Carolina State Wolfpack-From:-03:30pm
Clemson Tigers V Maryland Terrapins-From:-03:30pm
Northern Illinois Huskies V Eastern Michigan Eagles-From:-03:30pm
Texas Tech Red Raiders V Oklahoma Sooners-From:-03:30pm
Virginia Tech Hokies V Duke Blue Devils-From:-03:30pm
Baylor Bears V Kansas Jayhawks-From:-07:00pm
LSU Tigers V Furman Paladins-From:-07:00pm
Missouri Tigers V South Carolina Gamecocks-From:-07:00pm
Oregon Ducks V UCLA Bruins -From:-07:00pm
Auburn Tigers V Florida Atlantic Owls-From:-07:00pm
Ohio State Buckeyes V Penn State Nittany Lions-From:-08:00pm
Oregon State Beavers V Stanford Cardinal-From:-10:30pm
Fresno State Bulldogs V San Diego State Aztecs-From:-10:30pm
Over 3700 Live Streaming HD Channels
Stream Directly to your PC or Laptop
No hardware purchases required ever
No Monthly charges / No Bandwidth limits
Unrestricted worldwide TV Channel coverage
No TV restrictions / No Streaming restrictions
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www.blick.ch/news/wirtschaft/pharma-novartis-verkauft-res...
5 Mio Schweizer ohne Grippeschutz
meldung 2008 : Wundermittel Tamiflu hilft kaum mehr
Von Dani Glaus. Aktualisiert am 03.12.2008 20 Kommentare
Schon bis zu 80 Prozent der Grippeviren resistent gegen das Medikament von Roche, das einst als Wunderwaffe etwa im Kampf gegen die Vogelgrippe gegolten hatte.
Die Ärzte verlieren ihr wichtigstes Mittel im Kampf gegen Grippeviren. Diese werden zunehmend resistent gegen den Wirkstoff Oseltamivir, der in Tamiflu von Roche enthalten ist. Virologen der Universität Genf warnen, dass Oseltamivir diesen Winter gegen bis zu 80 Prozent der Influenza-A-Viren nichts mehr ausrichten könnte. In der vorletzten Saison lag die Resistenz bei rund 18 Prozent, wie das nationale Influenza-Zentrum feststellte.
Völlig machtlos sind Ärzte bei einer ausgebrochenen Grippe nicht. Es gibt noch zwei andere Wirkstoffe. Allerdings sind diese komplizierter einzunehmen, weniger verbreitet und auch älter.
Zu wenig Menschen impfen sich
Die Grippeviren werden immer fitter gegen Tamiflu , weil sich zu wenig Menschen gegen die Grippe impfen, meint Katia Boggian von der Infektiologie des Kantonsspitals St. Gallen. Denn: Je mehr Menschen an der Grippe erkranken, desto häufiger kommt Tamiflu zum Einsatz. Und je mehr Tamiflu -Pillen geschluckt werden, desto rascher entwickeln die Viren eine Resistenz gegen sie.
Boggian fordert ihre Ärztekollegen deshalb auf, so viele Menschen wie möglich zu impfen – insbesondere für geschwächte Personen wie Ältere oder Kranke kann eine Grippe tödlich sein. (NEWS)
Erstellt: 03.12.2008, 06:48 Uhr
20 KOMMENTARE
Marc Diethelm
10:32 Uhr
Der Mensch schaltet medizinisch die natürliche Selektion weitgehend aus und wird immer schwächer. Die Parmakologie erhöht den Selektionsdruck auf Viren/Mikroben massiv und macht diese immer stärker. Die Marktkräfte (Pharma-Geldgier) und eine eindimensionale medizinische Ethik (jeder soll überleben) stellen die Weichen Richtung Abgrund. Die wirklich grossen Fragen werden nicht einmal gestellt.
Walter Sahli
09:49 Uhr
...und warum äussert sich eigentlich der vielseits geschätzte Prof. Beda Stadler nicht zur Tamiflu-Resistenz? War nicht er es, der, natürlich nur aus rein wissenschaftlichen Gründen und aus Liebe zur Menschheit, die Werbetrommel für Tamiflu ("Tamiflu für alle") gerührt hat, wie sonst kein Anderer?
hanspeter künzler
00:10 Uhr
ob tamiflu das gelbe vom ei ist,war mir als arzt nie klar.trotzdem,in der schweiz sterben jedes jahr 800-1000 menschen bei ganz normalen grippeepidemien.meines wissens gibt es kein andere infektionskrankheit in der schweiz,an der jährlich mehr sterben.an der vogelgrippe in asien sterben ca.60% der erkrankten.nun,was wäre wohl schlimmer, tamiflu oder die vogelgrippe?wer gerne stirbt wohl tamiflu!
Christoph Geiser
03.12.2008, 21:38 Uhr
Die Natur findet eben immer einen Weg sich durchzusetzen. Die kollektive Intelligenz von Viren ist anscheinend grösser, als die von Forschergruppen, und schneller. Menschen werden nun mal krank und können an diesen Krankheiten auch sterben. Ist halt einfach so.
Jürg Reichel
03.12.2008, 18:23 Uhr
Neuste Studien haben gezeigt, dass die Grippe-Impfung wenig bis nichts genützt hat: es hat nicht weniger Tote in den Heimen oder unter den über 65jährigen gegeben. Ich verstehe nicht warum Wissenschaftler, es sei denn sie hätten irgend ein finanzielles Interesse daran, die Impfung empfehlen können.
Bruno Meier
03.12.2008, 17:53 Uhr
Wieso geben denn Aerzte dieses Medikament gegen normale Grippen? Wo bleibt da die Intelligenz?
Edgar Brunner
03.12.2008, 14:33 Uhr
Es war keine Überraschung, dass die Grippeviren rasch Resistenzen gegen den Wirkstoff entwickeln würden. Es wäre deshalb intelligent gewesen, sein Pulver erst zu verschiessen, wenn ein wirklich gefährliches Vogel-Grippe-Virus im Umlauf gewesen wäre. Aber Gier siegt über Vernunft.
Ronald Bleiker
03.12.2008, 13:42 Uhr
Eine so lächerliche Aussage habe ich kaum je gehört: "...weil sich zu wenig Menschen gegen die Grippe impfen...". Das Problem liegt genau in umgekehrter Richtung. Aber so lange wir den Pharmafirmen so hörig sind, werden sie uns verschaukeln. Ich jedenfalls impfe mich garantiert nicht mit diesem Gift.
Marina Müller
03.12.2008, 11:39 Uhr
Das Geschäft mit der Angst blüht! Diesmal wird wieder kräftig für die Grippe-Impfung geworben. Das Tamiflu-Geschäft wurde gemacht. Nun brauchts wieder Gründe um die Einnahmen durch die Impfung zu erhöhen. Was dabei vergessen geht ist, dass eine Grippe durchaus zum Leben gehört und diese Auszeit für den Menschen heilsam ist.
Willy Burkhardt
03.12.2008, 10:44 Uhr
Wie Antibiotica sollte man auch Tamiflu nicht vorbeugend einnehmen, was eben gemacht wurde, daher die Resistenz! Uebrigens: In jeder Drogerie und Apotheke er hält man die pflanzliche Tinktur vom Sonnenhut (Echinacea von Vogel oder Schwabe), was äusserst wirksam vor Grippe schützt!
Frautschi Christian
03.12.2008, 10:26 Uhr
Jeder Mensch muss krank werden, muss einmal im Jahr ein Grippe haben! Geschieht dies nicht, können die Gifte und Viren nicht aus dem Körper geschafft werden, via Fieber. Wird eine Grippe unterdrückt, sucht sich der Körper einen anderen weg, seine Audgabe auszuführen, das er gereinigt werden kann. Wir müssen krank werden, um gesund zu bleiben. Was unnatürlich ist, ist die Angstmache der Pharma &Co.
Markus Berger
03.12.2008, 10:24 Uhr
Tamiflu hätte nie auf den Markt kommen dürfen. Trotzdem konnte Roche dank der Vogelgrippehysterie mit diesem "Flopprodukt" Milliarden umsetzen. Mit Angst konnte man schon immer sehr viel Geld generieren. Darum mein Tipp: etwas mehr Vertrauen in die eigene Gesundheit und zuätzlich eine gute Portion gesunden Menschenverstand.
Friedrich Hanslin
03.12.2008, 09:50 Uhr
Es ist ja schon unglaublich, wie die Pharma-Konzerne Staaten, Medien und Bürger an der Nase rumführen können. Sie verkaufen sogar massenweise Tamiflu als Wundermittel gegen Vogelgrippe - die es, oh Wunder, leider nicht zur Pandemie geschafft hat (vgl. SARS). Mit Angst kann man Geld machen. Da gehts um Milliarden... und sowohl Medien als auch Ärzte machen wie Marionetten mit bei diesem Spiel!
Philipp Küng
03.12.2008, 09:50 Uhr
Nun eine bekannte Kontraindikation fürs Impfen sind sehr alte und schwache Menschen. Sie glaubens nicht prüfen Sie es nach! Das Pflegepersonal in Altersheimen nennt die alljährliche Grippeimpfung "Betten-leermachen". Und was ist so schlimm im Alter an einer Grippe zu sterben? Sterben Sie lieber an Krebs, und leiden an fortgeschrittener Demenz? Menschen dieser Welt braucht endlich euer Hirn!
Andreas Schmid
03.12.2008, 09:43 Uhr
Mit andern Worten: Bricht das mutierte Vogelgrippe-Virus endlich auf, die Menschheit dahin zu raffen, kann man zuvor seine privaten wie die staatlichen Tamiflu-Vorräte getrost schon entsorgen und sich kompensatorisch auf eine sehr schwere Krankheit, Viele gar auf einen mühsamen Tod, vorbereiten. Berauschende Aussichten, 1918 und die spanische Grippe mit ihren Millionen von Toten lassen grüssen!
Georg Klein
03.12.2008, 09:30 Uhr
"Virologen ... warnen" "bis zu 80 Prozent" "nichts mehr ausrichten könnte" Also: "warnen", "bis zu", "könnte". Was ist hier FAKT? Dass sie WARNEN. Mehr nicht. Und dass die Resistenz zuletzt 18% war. Forscher lernen von den Medien, sie benutzen zunehmend die Sprache der Medien, welche auf Wirksamkeit optimiert ist. Da müssen die Medien in der Berichterstattung nicht einmal gross nachhelfen.
Tom Müller
03.12.2008, 09:14 Uhr
Roche hat einen erstklassigen Wirkstoff entwickelt, der vielen Personen geholfen hat. Die Tatsache, dass man gerade im deutschsprachigen Europa etwas impffaul ist, ändert an der Qualität des Produkts nichts. Trotzdem wird natürlich auch hier ein bisschen gegen die Schulmedizin gejammert, obwohl weit und breit kein Substitut zu Tamiflu zu sehen ist. So kommen wir wirklich weiter.
Theo Koch
03.12.2008, 08:32 Uhr
Vielleicht sollte man den Virus beim Entstehen bekämpfen, wenn sinnlos Hühner von Afrika kann China verschifft werden. Aber man vertraut blind der Schulmedizin, welche alle impfen wollen. Aber wer verdient wieder beim Impfen? Und gibt es denn wirklich keine anderen Schutz, als sich Gift in den Körper zu spritzen? Wacht auf, setzt den Menschenverstand ein. Medien, macht euch schlau und berichtet!
Hans U. Schoch
03.12.2008, 08:21 Uhr
Man muss das im grösseren Stil sehen. Roche hat super verdient. Nicht nur mit den Lieferungen an die Schweiz. Dafür zahlt Roche auch super Steuern. Und der Staat hat gerechnet....und bestellt. Dafür hatten alle ein gutes Gefühl.... PS. habe Tamiflu ausprobiert....weiss nicht was schlimmer ist die Nebenwirkungen des Medikamentes oder die Vogelgrippe...
Marcello Sontano
03.12.2008, 07:34 Uhr
Nun sitzen die Staaten inkl der Schweiz auf riesigen Tamifluvorräten welche "fast" nichts nützen. Die Politiker und Beamten welche in der Panik diese Vorräte angelegt haben, man will ja wiedergewählt werden und sich ja nicht dem Vorwurf der Tatenlosigkeit aussetzten, sollten die restlichen Bestände nun an Roche zurückgeben oder einen nachträglichen substanziellen Rabatt einfordern.
QUELLE : BAZ Online
Chantilly 2016 - Concours d'élégance
www.bonhams.com/auction/23603/lot/26/horch-853-spezialroa...
www.audisport.ch/dossiers/audi-heritage/1399-1937-horch-8...
Horch 853 Spezialroadster vers 1937
Châssis n° 853177
Moteur n° 851234
•Marque allemande de prestige
•L'une des 950 construites
•Entièrement restaurée par Horch Classic
•Boîte cinq rapports
August Horch, l'un des pères fondateurs de l'industrie automobile allemande, était né à Winningen en 1868 et, après des études techniques dans une école d'ingénieur, avait travaillé pour un constructeur de moteurs marins à Leipzig. Il dirigea ensuite l'usine de moteurs de Kral Benz à Mannheim, mais sa frustration devant l'approche conservatrice de son patron le poussa à chercher des fonds pour monter sa propre entreprise. Horch jugeait la « voiture sans chevaux » à moteur arrière de Benz archaïque et sa première voiture, en 1900, arborait un moteur bicylindre installé à l'avant et un arbre de transmission aux roues arrière, une première en Allemagne. Des modèles à moteur quatre et six cylindres suivirent et Horch devint incontournable dans les compétitions et les courses de côtes de l'époque, mais cette pratique l'amena par la suite à entrer en conflit avec sa direction et entraina son départ en 1909 pour fonder Audi.
En 1923, Horch embaucha Paul Daimler, le fils de Gottlieb, comme ingénieur en chef, la première voiture à porter sa griffe étant la 300. Elle était animée par un huit cylindres en ligne à double arbre à cames en tête de 3, 2 litres, un type de moteur qui allait avoir les faveurs de Horch tout au long des années 1920 et 1930. Après le départ de Daimler, Fritz Fiedler (qui allait ensuite s'illustrer chez BMW) prit sa succession et conçut une huit cylindres en ligne à simple arbre à cames – la Horch 450 – qui fut suivi par les modèles 600 et 670 à moteur V12 de 6 litres en 1931 et par la 830 B à moteur V8 de 3, 5 litres en 1933.
En 1932, la société fut intégrée à Auto Union qui réunissait Audi, DKW et Wanderer. Horch sortit une véritable pléthore de versions de ses modèles dans les années 1930, avec des choix incroyables de cylindrées, d'empattements et de styles de carrosseries, tous destinés au marché du luxe sur lequel Horch était le seul concurrent national sérieux face à Mercedes-Benz. La 853 de 4, 9 litres, dévoilée pour l'année-modèle 1936, était propulsée par un huit cylindres en ligne simple arbre reposant sur dix paliers, conçu par Fiedler et installé dans un robuste châssis doté d'une transmission à quatre rapports avec overdrive et de freins hydrauliques assistés. La 853/853a, un élégant cabriolet sportif, fut produite jusqu'à l'entrée en guerre, date à laquelle 950 de ces voitures très exclusives avaient été construites.
Après la seconde guerre, l'usine Horch de Zwickau se retrouva dans la partie est de l'Allemagne où elle fut utilisée pour la construction des utilitaires Trabant, une bien triste fin pour cette marque aristocratique qui avait figuré parmi les meilleures du monde.
Malheureusement la carrosserie d'origine de cette 853 a été perdue pendant la seconde guerre ou peu après. Selon les informations fournies par le vendeur, le dernier propriétaire de la voiture l'avait équipée d'une carrosserie pick up et l'avait utilisée pour transporter des denrées sur son exploitation agricole en Ukraine. On ne sait donc pas si elle avait reçu la carrosserie Sportcabriolet d'usine ou une carrosserie réalisée par un artisan indépendant à l'origine.
La voiture a été achetée en Ukraine en 2009 par Horch Classic qui a aussitôt entrepris une restauration de sept années qui a demandé des milliers d'heures de travail. Il a été décidé de construire une réplique de la légendaire carrosserie Spezialroadster Horch Classic a fait des recherches dans diverses archives (mais aussi dans des documentations privées) pour retrouver des photos d'usine d'époque.
Grâce à la longue expérience de Horch Classic, à la documentation photographique et aux gabarits maison, une forme en trois dimensions fut construite. On la recouvrit de tissu pour visualiser les lignes et les volumes de la carrosserie. De nombreuses modifications furent apportées à cette forme de départ, avant de trouver les bonnes proportions. C'est seulement à ce stade que l'on put commencer à construire la structure en bois de la carrosserie.
Des gabarits furent à nouveau utilisés pour reporter les volumes de la forme et réaliser la structure avec de nombreux essais pour ajuster et trouver les bonnes lignes. À l'aide d'un niveau laser, on a assemblé et collé les composants de la structure entre eux et on les a vissés au châssis. Puis, les panneaux métalliques de la carrosserie ont été fabriqués, ajustés et soudés ensembles. Le châssis Horch avait auparavant été nettoyé et l'épaisseur de son métal et son éventuelle corrosion vérifiées. Les parties trop corrodées ou jugées trop fines avaient été remplacées apprêtées puis recouvertes de plusieurs couches de peinture.
Dès le départ, on considéra de la plus haute importance, non seulement de trouver l'harmonie de couleurs parfaite entre la carrosserie et l'intérieur, mais aussi de trouver un aspect conforme à celui de l'époque pour l'ensemble de la voiture. En conséquence, une couleur de base gris métallisé fut donc choisie, changeant en fonction de l'éclairage, du gris métal pur à un gris avec une légère pointe de rouge. Pour accentuer les lignes fluides de la voiture, des filets furent tracés à la main sur les garde-boue, sur le capot, les portes et l'arrière de la carrosserie.
L'intérieur de la voiture a été tendu de velours noir de haute qualité avec un passepoil du même cuir rouge que les sièges. Le cuir des sièges a été choisi car son aspect ressemble à celui des cuirs utilisés à l'époque. Le logotype Horch a été brodé sur le dos des sièges avant et sur les contre-portes au fil noir. De gros efforts ont été consentis pour le ciel de capote en Alcantara.
Le tableau de bord, constitué d'une seule pièce de bois, a été plaqué de ronce du Canada, laquée et polie pour obtenir un effet miroir. Les boiseries intérieures ont un léger reflet rouge qui s'harmonise à merveille avec les couleurs de l'intérieur et de l'extérieur. Les écussons Horch, sur le radiateur et le coffre, ont été plaqués en or 24 carat par un joailler. Tous les chromes ont été préparés et rechromés ou ont été reconstruits et chromés quand c'était nécessaire.
Le moteur d'origine, les essieux avant et arrière, le différentiel, la boîte de vitesses et la direction ont été démontés et révisés quand cela était nécessaire. Le moteur a été entièrement démonté et toutes les pièces calibrées et vérifiées. De nouveaux roulements ont été montés, de nouveaux pistons installés, l'arbre à cames et les commandes de soupapes révisés. Des joints de soupapes neuf ont été montés et des joints modernes à lèvres d'étanchéité ont été montés sur le moteur, à l'avant et à l'arrière. Le vilebrequin et le volant moteur ont été équilibrés avec précision. Le moteur, essayé au banc pendant une vingtaine d'heure avant d'être réinstallé dans la voiture, tourne parfaitement avec douceur, tandis qu'une boîte a cinq rapports révisée vient augmenter le plaisir de conduite et permet de tenir une bonne vitesse de croisière à des régimes peu élevés. Un faisceau électrique neuf a été refait et recouvert de coton vernissé pour reproduire l'aspect d'époque. Il va sans dire que tous les éléments de sécurité des freins et de la direction ont été rénovés. Un système d'allumage additionnel a été installé.
La voiture est vendue avec un reportage photographique de la restauration, ses papiers d'immatriculation allemands et un contrôle technique (TüV) daté du 11 juillet 2014. Un grand nombre d'articles et de publications sur la marque accompagnent la voiture, ainsi que son manuel du propriétaire (copie), une liste des pièces détachées (copie), un atlas Horch des routes secondaires allemandes, Horch: Typen-Technik-Modelle de Peter Kirchberg et Jürgen Pönisch et The Coachwork of Erdmann & Rossi, Berlin de Rupert Stuhlemmer. Une plaque émaillé Horch Dienste, un thermomètre Horch et un parapluie Horch Classic font également partie du lot.
c.1937 Horch 853 Spezialroadster
Chassis no. 853177
Engine no. 851234
•Premier German marque
•One of only 950 made
•Fully restored by Horch Classic
•Five-speed gearbox
One of the founding fathers of the German automobile industry, August Horch was born in Winningen in 1868, and following an technical education at engineering school, worked for a marine engine manufacturer in Leipzig. His next job was managing Karl Benz's motor works at Mannheim, but frustration with his employer's conservative approach prompted Horch to seek financial backing for his own venture. Horch regarded Benz's rear-engined 'horseless carriages' as out-dated, and his first automobile of 1900 featured a front-mounted, twin-cylinder engine and shaft-driven rear axle, the first time this latter innovation had been seen in Germany. Larger four- and six-cylinder models followed, and Horch became active in the trials and competitions of the day, though ultimately this policy would bring August into conflict with his fellow directors and force his departure in 1909 to found Audi.
In 1923 Horch engaged Paul Daimler, son of Gottleib, as Chief Engineer, the first car to bear his stamp being the '300'. This was powered by a 3.2-litre, double-overhead-camshaft, straight eight engine, and power units of this type would be favoured by Horch throughout the 1920s and 1930s. After Daimler's departure Fritz Fiedler (later of BMW fame) took over, designing a single-overhead-cam straight-eight - the Horch 450 - which was followed by 6-litre V12-powered 600 and 670 models in 1931 and the 3.5-litre V8-engined 830B in 1933.
In 1932 the company became part of the Auto Union together with Audi, DKW and Wanderer. Horch produced a veritable plethora of model variations in the 1930s, ringing the changes on engine capacity, wheelbase and styles of coachwork, but all were aimed squarely at the prestige end of the market, where Horch was the only serious domestic rival to Mercedes-Benz. Introduced for the 1936 season, the 4.9-litre Type 853 was powered by a Fiedler-designed, SOHC, ten-bearing straight eight mounted in a solidly built chassis boasting a four-speed overdrive gearbox and servo-assisted hydraulic brakes. A stylish sports cabriolet, the 853/853a was produced up to the outbreak of war, by which time a mere 950 of these exclusive cars had been built.
After WW2, Horch's Zwickau factory ended up on the eastern side of the border where it would eventually be pressed into service manufacturing the utilitarian Trabant - a sad end to a once noble marque that had ranked among the very best.
Unfortunately, the original body of this Horch 853 was lost either during WW2 or soon after. According to information supplied by the vendor, this car's last owner had fitted a pick-up body, and used the car to transport materials on his farm in Ukraine; thus it was not possible to tell whether a factory Sportcabriolet or an independently coachbuilt body had been fitted originally.
The car was purchased in the Ukraine in 2009 by Horch Classic, which then embarked on a seven-year restoration that took thousands of working hours to complete. It was decided to build a replica body in the style of legendary Spezialroadster. Horch Classic researched in numerous archives (and also private sources) to find original factory photographs.
Utilising Horch Classic's long term experience, researched photographic documentation, and in-house made templates, a three-dimensional body buck was fabricated. This buck was then covered in fabric to create a first impression of the body's lines and proportions. Numerous changes had to be made to the original buck before the form and proportions were right; only then could the construction of the wooden body frame begin.
Templates were again used to transfer the buck's shape to the wooden frame, with lots of trial fittings until the right shape and form had been achieved. Using a laser spirit level, the frame components were then glued together and screwed onto the chassis. Then the individual components of the metal body were fabricated, measured again and welded together. The Horch chassis frame had already been cleaned, measured and the metal checked for thickness and corrosion. Parts of the frame which showed either too much corrosion or were deemed too thin were replaced and then primed and painted with several coats.
From the start it was considered very important, not only to achieve perfect harmony of the body colour and interior, but also to arrive at a period-correct look for the car as a result. Accordingly, a base colour of silver metallic was chosen, which changes under different lighting conditions from a pure silver to a silver with a slight red tinge. To emphasise the car's flowing lines, a coach line was applied by hand to the mudguards, bonnet, doors and the rear of the body.
The car's interior was clad in high quality black velour carpet, which was piped in the same red leather as was used for the seats. The leather for the seats itself was chosen for its period-authentic surface texture. The Horch logo has been stitched into the back of the front seats and the door cards with a black thread. A great deal of effort went into the Alcantara hood lining.
The dashboard, made from a single piece of wood, has been covered with Canadian burr veneer that has been lacquered and polished to provide a mirror-like finish. The interior woodwork also shows a slight red tinge, which harmonises beautifully with the interior and exterior colours. The Horch Logo on the radiator and the boot lid were plated with 24 carat gold by a jeweller. All chromed parts were either prepared and re-chromed, or where necessary newly fabricated and plated.
The original engine, front and rear axles, differential, gearbox and steering were dismantled, measured and overhauled where necessary. The engine was completely dismantled and all parts measured and checked. New bearings were fitted, new pistons installed, and the camshaft and valve gear overhauled. New seals were fitted to the valve guides, and modern radial oil seals fitted to the engine at front and rear. The crankshaft was finely balanced together with the flywheel. Dynamometer tested for some 20 hours before fitting to the car, the engine is reported to run very smoothly, while a comprehensively overhauled five-speed gearbox enhances the already pleasurable driving experience and helps to keep the engine revs low at cruising speeds. A new wiring loom has been made and covered with woven cotton to replicate the appearance of the original. It goes without saying that safety-critical components for the steering and hydraulic brakes were renewed also. An additional ignition system is fitted.
The car is offered with photographic documentation of the restoration; German registration papers; and an historic TüV dated 11.07.14. A quantity of marque-related literature comes with it to include an owner's manual (copy); spare parts list (copy); Horch B-Road Atlas Germany; 'Horch: Typen-Technik-Modelle' by Peter Kirchberg and Jürgen Pönisch; and 'The Coachwork of Erdmann & Rossi, Berlin' by Rupert Stuhlemmer. A 'Horch Dienste' advertising enamel sign; a Horch thermometer; and an umbrella with Horch Classic print are included in the sale.accompagnent la voiture, ainsi que son manuel du propriétaire (copie), une liste des pièces détachées (copie), un atlas Horch des routes secondaires allemandes, Horch: Typen-Technik-Modelle de Peter Kirchberg et Jürgen Pönisch et The Coachwork of Erdmann & Rossi, Berlin de Rupert Stuhlemmer. Une plaque émaillé Horch Dienste, un thermomètre Horch et un parapluie Horch Classic font également par
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
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#thierrygeoffroy
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#CriticalRun
#venicebiennale
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#ultracontemporary art
#protestart
I had some of the worst hairstyles you can imagine, reveals Jennifer Aniston! - www.bolegaindia.com/gossips/I_had_some_of_the_worst_hairs...
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
Wednesday 25 July 2012: Les Contamines-Montjoie - Auberge Le Truc (1,720 m) - Refuge de Miage (1,560 m) - Col de Tricot (2,120 m) - Bellevue (1,800 m) - Col de Voza (1,653 m) - Les Houches - Les Bossons
Day 12 of our Tour du Mont Blanc, on Exodus' Mont Blanc Circuit trip - a clockwise circumambulation of the Mont Blanc massif
Today would bring us back into the valley of Chamonix-Mont Blanc, and it felt far too soon to be returning to Les Bossons. Suddenly the end was nigh....
After our final tent wrangling, and Stephen and Ian demonstrating their double act tent-taking-down skills for the rest of us, we said au revoir lovely Camping Le Pontet and walked down to Les Contamines, turning off at the signpost for Le Truc. A steep climb up through pine trees eventually brought us out above the tree line at Auberge Le Truc (1,720 m). The morning's blue skies and bright sun made for poor photos of the Glacier du Miage and the peaks above, including the elusive Mont Blanc and the Aiguille de Bionnassay.
A descent into the next valley brought us to the Refuge de Miage (1,560 m) in its stunning location below the glacier and the Dômes de Miage (but the sun was still working against my photos!). Refreshed by coffee and cake (I declined the blueberry tarte at 7€ a slice...), we commenced the long haul and many zigs and zags up to the Col de Tricot (2,120 m). En route, it did indeed feel frustrating to have lost the 200m between Auberge Le Truc and Refuge de Miage! Still, the views from the col were smashing - north into the Bionnassay valley with the line of the Mont Blanc Tramway just discernable, and south back over the Miage valley and to the ridges beyond. A great spot to rest for a while.
The next stretch took us down into the Bionnassay valley and more great views of the peaks and glaciers of the Mont Blanc Massif up to our right, and we lunched with a stupendous view looking up the Glaicer de Bionnassay at the Aiguille de Bionnassay and Dôme du Goûter.
Accompanied by Alpine Roses, flowers and woodland we descended towards the Torrent de Bionnassay, and crossed, carefully, over the cable suspension bridge. A very busy section followed, up to Bellevue where the tramway and the cable car from Les Houches deposit strollers, hikers and mountaineers alike. Those with tired legs opted for the cable car down, the rest of us continued to the Col de Voza (1,653 m) and then took the black run down to Les Houches - the sandy/scree track made for tough going on the knees.
Having made a rainy rendezvous at a bar in Les Houches, we squeezed onto the bus back to Les Bossons - hello again Camping Les Marmottes .... and BONJOUR MONT BLANC! Yes, at last.... we realised what we'd missed on our arrival... the amazing views of the Glacier des Bossons, Mont Blanc and the Aiguille du Midi - and many more peaks and ridges besides. The colours turned from blue to white to rose pink as the sun set. Beautiful.
DSC06207
MAY DAY IN WHITSTABLE
From my blog: rangefinderchronicles.blogspot.co.uk/2014/08/may-day-in-w...
Toyo 45/ 45 slide
memoiresdepierre.pagesperso-orange.fr/alphabetnew/c/capbl...
Source : Wikipédia
Cap Blanc Nez (literally "Cape White Nose" in English) was a cape on the Côte d'Opale, in the Pas-de-Calais département, in northern France. The cliffs of chalk are very similar to the white cliffs of Dover at the other side of the Channel in England. Cap Blanc Nez is no longer a cape but a cliff that is topped by an obelisk commemorating the Dover Patrol which kept the Channel free from U-boats during World War I.
FRENCH :
fr.wikipedia.org/wiki/Cap_Blanc-Nez
Le cap Blanc-Nez est un cap situé à Escalles dans le Pas-de-Calais, à 10km de la ville de Calais. C'est la falaise la plus septentrionale de France.
Il est constitué de falaises escarpées, constituées de craie et de marne. Ces falaises s'élèvent jusqu'à 134 m de haut (151 m selon le Conservatoire du littoral) au-dessus d'un estran rocheux.
C'est un des sites emblématiques du Parc naturel régional des Caps et Marais d'Opale, qui constitue l'un des lieux-phare du « Grand Site des Deux Caps ». La falaise supporte une lande herbeuse, d'une qualité liée au sol et aux vent et embruns salés. Ces pelouses herbeuses sont entourées de grandes cultures et sont localement marquées par des séquelles de guerre (cratères de bombes de la Seconde Guerre mondiale).
Par temps clair, on peut y observer distinctement les falaises des côtes anglaises, le Cap Gris-Nez et la baie de Wissant au sud-ouest, la plaine flamande au nord, les collines du Boulonnais à l'est.
L'orthographe actuelle n'est pas conforme aux anciennes dénominations. Au xviie siècle, on l'appelait le Blannest. Si la première partie du nom désigne bien la couleur, la seconde partie -ness ou -nes est issue du vieux saxon naes qui signifie promontoire.
Obélisque : Dover Patrol
Ce monument rend hommage au sacrifice des soldats français et britanniques qui ont défendu les eaux du détroit du Pas-de-Calais au cours de la première Guerre mondiale. Le détroit du Pas-de-Calais était alors un endroit hautement stratégique par lequel transitaient les lignes de ravitaillement alliées. La surveillance et la protection du détroit était l'affaire de la Dover Patrol.
Un obélisque identique se dresse de l'autre côté du détroit sur les côtes anglaises à St Margaret-at-Cliffe.
Le monument d'origine a été détruit par l'armée allemande au cours de la deuxième guerre mondiale. Il a été reconstruit et inauguré en 1962. De juin à septembre 2007, le monument a bénéficié d'une restauration financée par le département du Pas-de-Calais dans le cadre de l'opération Grand Site (réaménagement du site des caps). L'opération a necessité l'intervention de véritables acrobates pour remettre en état ce grand obélisque.
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"PRAYING FOR JAPAN"
www.jejuweekly.com/news/articleView.html?idxno=1371
I had just finished dinner on Friday, March 11th when a friend called me with the news that Japan had been hit by a massive earthquake. I had been busy all afternoon and hadn't heard the news. I immediately turned on my computer and watched in horror as streamed video from various news networks showed the tsunami racing across Japan's northeastern coastline, washing away everything in its path. It was an incredible sight.
Unfortunately, this was only the beginning as damage to four of Japan's six nuclear reactors caused by the earthquake threatened to create an even grreater disaster. Daily warnings about radiation levels followed. And then, just when it looked like things couldn't get any worse for Japan, it began to snow...
Nearly two weeks have past since Japan suffered its worst crisis since World War II. A stream of photos from the disaster stricken area show the magnitude of the catastrophe. One image shows rescue workers sifting through the rubble of a destroyed factory looking for survivors as snow falls heavily around them. Another shows an old woman staring at empty shelves as she pushes a cart along the aisle of a supermarket. A third picture shows a group of men sitting in dirty lawn chairs around a camp fire, cooking noodles and reading tattered newspapers while another shows a lone aid worker on a bicycle speeding through what was once a bustling city, piles of rubble on either side of the mangled road. Over 7,000 people have died, thousands more are missing, about 450,000 people are now homeless, and more than one million people have no drinking water.
Having lived in Japan for many years in the 1990's, it saddened me to see such a terrible thing happen to such a wonderful country. So, when I heard that Gwaneumsa temple here in Jeju was going to do a special ceremony for the people of Japan on Sunday, March 20th, I jumped at the chance to take part.
I arrived at the parking a lot in front of Ora stadium at 8 am and hopped onto the bus bound for the temple. Nearly every seat was taken. A good sign that Japan is in the hearts of many Korean people. Within 10 minutes we had arrived at Daewonjeongsa temple, the starting point for our aproximately 7 km "meditation" walk to Gwaneumsa temple. As we headed out, rain started falling. It rained... and rained... and rained.
Two rain soaked hours later, we finally arrived at Gwaneumsa. Not wasting any time, the monks shepparded us to a pagoda in the central courtyard area. Around the pagoda we went, a sort of "cleansing" ritual for the soul that removes bad spirits.
Next we headed inside for the main ceremony. It was packed with people. The temple's senior members entered the room and the ceremony quickly began. The next hour was similar to what most Buddhist ceremonies look like in Korea. But, about half way through, the priest began to pray for Japan, calling for health, happiness, and a strong future for the country. Then, near the end of the ceremnony, another priest called out the names of Japanese people and prayed for their strength in the face of such trying times. It was a touching moment.
A blanket of fog had moved in while we were inside, creating a wonderful atmosphere around Gwaneumsa and prompting me take a few extra minutes to walk around the complex and gather my thoughts before heading back to the bus. I rounded a corner and saw a young monk make his way across a courtyard and between two buildings. I took one photo before he disappeared into the foggy unknown.
It brought my thoughts back to Japan, its future also unknown. Rebuilding the tsunami ravaged areas will take time. It will be difficult and there will be a lot of pain. My thoughts go out to the people of Japan and I pray for a speedy recovery for the country.
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Please view my stream LARGE on black:
- Dự án biệt thự Quận Bình Thạnh - Khu biệt thự Saigon Pearl Quận Bình Thạnh -
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Toàn bộ các khối nhà được bố trí tránh xa các tuyến đường giao thông nhằm đảm bảo sự yên tĩnh và không khí trong lành cho cư dân. Bên cạnh đó, các khu vực tiện ích công cộng như: hồ bơi, công viên, bến tàu, câu lạc bộ du thuyền, sân tennis được quy hoạch cạnh sông Sài Gòn giúp cư dân vừa sử dụng các tiện ích, vừa chiêm ngưỡng vẻ đẹp yên bình và tận hưởng sự trong lành của sông Sài Gòn.
Các góc nhìn ở Saigon Pearl luôn hiển thị một không gian tự nhiên, lịch lãm. Tổng thể không gian kiến trúc của Khu biệt thự Saigon Pearl được quy hoạch một cách khoa học để phô diễn tất cả nét đẹp của cảnh quan tự nhiên. Ngắm nhìn vẻ đẹp hài hòa của cảnh quan thiên nhiên tại Saigon Pearl luôn là niềm say mê bất tận.
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Tran trong
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Well done reportage for the austrian TV where Thierry Geoffroy / Colonel present it s format Biennalist www.emergencyrooms.org/biennalist.html , the film show with his students , part of a critical run and a slow dance
at the Maldives pavilion : "Can we rank emergencies ? "
see the TV video
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other Biennales (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
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Construction on the Oakland Paramount Theater began one year into the Great Depression; according to the Paramount History Page, it was sold to Fox before opening on December 16, 1931. Paramount Pictures itself went into receivership in 1933.
Assuming history repeats itself, we are currently reliving 1930. Except that, in 1930, just as the movie industry was being decimated by the Great Depression, talking pictures kicked the survivors' box office into overdrive, culminating in all-time attendance records during the Golden Age of Hollywood. By contrast, in 2008 affordable home theaters are spreading fast with the latest top-of-the-line flat screens surpassing theater projection quality, home-theater projectors offering screen sizes in excess of 10 feet, master-quality surround sound aimed directly at your couch, and even the beginnings of support for 3D.
What can a public movie house now offer that you cannot get, with less hassle and a remote control to boot, in the privacy of your own home?
I believe, at the very least, the era of the multiplex is over. There is no need for 16 living-room-size boxes to show every last romantic comedy and beer, bong, 'n' boobs flick that manages to get the green light. Going forward, people will increasingly only go to the movies for blockbusters, for event films. Several times a year an event film will draw huge crowds that will nevertheless not offset the cost of keeping a theater open the other 360 days of the year. Most movie theaters now open will be shuttered by 2011.
But not all movie theaters will disappear. When it comes to an event movie, I'd be willing to pay more—maybe $20 instead of $10—than I would for a run-of-the-mill sequel that more likely than not will be a waste of time. But for that extra money, time spent parking and waiting in line, sticky seats, and color commentary from the row behind, I require something I can't get at home—and not just bragging rights that I was the first in the office to see the latest Robert-Downey-Jr.-superhero sequel.
I want:
- the volume cranked to eleven without the neighbors calling the police
- to be part of a mass of oohing, aahing, screaming, and silently weeping humanity
- the awe-inspiring picture frame offered by an Art Deco movie palace
The 3040-seat Paramount (more than double the seating capacity of San Francisco's Castro Theater) came fairly near to selling out last Friday's by-no-means-exclusive screening of Singin' in the Rain. It passes the "nice frame" criterion with flying colors, and its enthusiastic clientele make it a great place to soak up the emotion of the crowd.
Too bad the sound sucks. Either the Paramount's acoustics, its speakers, or both are lousy. If I hadn't already memorized every line of Singin' in the Rain, I'd have had trouble making out several of them.
Fix the sound, and add digital distribution (the print had numerous bad splices, and noticeable deterioration in picture quality not found in the DVD release), and the Paramount comes about as close as I've seen to my vision of the theater of the future. With the Fox Theater just two blocks and three months away, I think it'd be wonderful if one of them made a serious attempt at showing movies again.
The problem is the Grand Lake, only a couple miles away, is already a first-run Art Deco movie palace with a first-rate sound system. But it's only half the size of the Paramount, and even that half has been divided, with separate screening rooms taking up the balcony. I'd do my best to support a serious attempt to out-grand the Grand Lake. Would you?
Brassó/Brasov/Kronstadt. My maternal grandfather's hometown.
Black Church/Fekete Templom which dates back to 1477, with a Gothic architecture, blackened by smoke from the 1689 great fire.
digital-escape.blogspot.hu/2009/06/brasov-kronstadtbrasso...
www.szekelyfoldiinfo.ro/Menu/Brasso.html
It was our first long, beautiful and touching journey to my family's second home to Erdély/Transylvania (previously Hungary, it has belonged to Romania since the end of WW1) - and a happy family reunion with my Transylvanian Sekler/Hungarian paternal Grandmother's niece, nephew and Dad's cousins in Székely Land/Székelyföld (a part of Transylvania).
(Dad's mother died 1947, just when his son, my father was allowed to come home from the Soviet lager where he had been a POV for five years.)
My maternal grandfather (1888-1948) was born and grown up as well in Erdély/Transylvania, his hometown was Brassó/Brasov/Kronstadt, so we visited his favourite places too. His mother was born in a well-posessed Saxon family in Brassó, his father was a Hungarian nobleman who was born in Upper Hungary (now it belongs to Slovakia.).
About Erdély/Transylvania (including Székely Land with majority of Hungarian population)::
Transylvania, is a geographical region of Romania near the Hungarian border. It covers about 39,000 square miles (101,000 square kilometers). The majority of its people are Romanians, but about a quarter of the population are Magyars (Hungarians). Magyars make up the largest ethnic group in Hungary. Transylvania also has a sizeable Gypsy minority. The Carpathian Mountains and Transylvanian Alps separate the region from the rest of Romania. For years, Romanians and Hungarians quarreled over Transylvania. Magyars conquered the region in the 900’s. From 1526 to 1699, Transylvania was part of the Ottoman (Turkish) Empire. It was under Hungarian control from 1699 to 1867, when it once again became part of Hungary. During World War I (1914-1918), Romania joined the Allies after being promised Transylvania. After the war, Transylvania became part of Romania. In August 1940, Germany and Italy forced Romania to give northern Transylvania to Hungary. After World War II (1939-1945), Transylvania was returned to Romania and lost its political identity. Transylvania is the main site of the legend about the vampire Dracula. The character of Dracula is based on Vlad Tepes, a cruel prince of the 1400’s who lived in Walachia, a region south of Transylvania. Vlad executed many of his enemies by driving a stake through their bodies. A belief vampires once held by many Romanian peasants added details to the legend. Dracula (1897), a novel by the English author Bram Stoker, made the legend famous. This immensely popular book has inspired numerous plays and motion pictures.
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This trip was not an everyday occurence because we have never met with this part of our family before. The reasons were due to sad and serious historical events:
After WW1 the Treaty of Trianon defined new borders of Hungary due to its role in Great War: we fighted on the side of Central Powers.
Compared to the pre-war Kingdom of Hungary, post-war Hungary had 72% less territory. Its population was 7.6 million, which was 64% less than the population of the pre-war kingdom, whose population was 20.9 million.
31% (3.3 out of 10.7 million) of ethnic Hungarians who lived in the pre-war kingdom lived outside the newly defined borders of post-war Hungary, just like a part of my paternal and maternal family as well as some people of my husband's family (not only in Romania but also in present Slovakia and Ukraine).
After WW2, due to the communist era and especially Ceausescu's politics my father couldn't visit his mother's relatives in Erdély/Transylvania, who lived in Székelyföld (Székely Land or Szekler Land). So we were all happy to meet each other after so many decades!
And another happy ending: both countries has been members of Europe Union since 2004 (Hungary) and 2007 (Romania).
en.wikipedia.org/wiki/Sz%C3%A9kely
第0號車 爺72+婆74+車87=233歲。 233 YEARS OLD
BENTLEY SPEED MODEL VANDEN PLAS FOUR SEATER TOURER 1926.
2011年3月11日東日本大震災發生後，臺灣的人民自動自發、慷慨解囊，以最快速並且領先各國的鉅額捐款協助賑災。日本人民由衷地感謝這份善意與恩情，並且認為應該好好地以實際的行動感謝臺灣，當面向臺灣這塊土地與臺灣人民說聲謝謝。
因此，過去僅在日本舉行的RALLY NIPPON古董車活動，今年特別跨海來臺灣舉行。主辦單位與日本古董車車主都希望能以這些在臺灣很不容易看到，並且受到車迷歡迎的古董車作為媒介，傳達「謝謝臺灣！」的感謝之意。藉由踏踏實實地環島一周，親身體驗臺灣的每一吋土地的溫度和人情，並親口謝謝所有善良又可敬的臺灣人民。
活動時間：
11/28~12/1，四天三夜。
DAY 1台北 ～ 台中 ～ 南投
DAY 2南投 ～ 台南 ～ 高雄
DAY 3高雄 ～ 台東 ～ 花蓮
DAY 4花蓮 ～ 宜蘭 ～ 台北
臺北：總統府（出發） → 臺中 → 臺南 → 高雄 → 屏東 → 臺東 → 花蓮 → 臺北：自由廣場（終點）
The last few days have been a flurry of activity with building on the river and wet lands. But, in between I have gone to a bunch of new places and back to some of my favorite venues.
Xavier & I love to salsa. So we did a search and wham, we found >Latin Palace Dance Club. Couples were dancing in dressy attire to wonderful salsa music. Wearing a tuxedo without a shirt and me in a short cocktail dress, it so reminded Xavier & me of Miami clubs.
A stopover at Organica to catch the last hour of DJ Qee's set woke us up with a nice psy jolt! So good to hear Qee's dynamic sounds and see old friends.
A brand new club called Fear FM sent me a tp. I got to meet owner/builder Cypher Webb. Beautifully built by Cypher, he was also spinning an awesome set of hardstyle and goth rock. I had a blast there. Cypher is also recruiting DJ's so peeps, give him a shout!
It was so late on Thursday night (Fri morn?) that I just had to stop off and say hi to DJ Xavi at The Cave. Owner Tasty Hax was there, too. I run into her at every party!
Friday afternoon, I got a tp from one of the builders. I ended up at Blackhearts 80's club. I love the funkiness of this club. So simple. It feels like a rock n roll club. Halloween was coming and the Pillsbury Dough Boy showed up! LOL!
Late night, and Xavier & I headed for DJ Nebulae's set at Piranha. Xavi loves this club. He set his JMD Effects hud on and we were in psy heaven. We always have fun at Shad's club!
In between all the craziness, I hit New Berlin's Electro Smog. Gee... I can't seem to get enough of this place. Zap Hax was hosting and DJ djleftydc Denja was spinning a sweet set of tunes.
Another new place I landed upon was Le Ghetto Hype. This is a fun club of alternative and eclectic tunes. Owner DJ Frederick Neberle & partner ARNAUD Mureaux have built a wonderful place to hang.
Off to Divaz Lounge! DJ 8wall Wrigglesworth just sent me a tp! OMG, 8wall is spinning at Divaz.
I met 8wall at Dance Island last year and then over at Nutrie. He spins a very chill set of house and minimal tunes.
But, the highlight of my night was at Old Factory listening to DJ Jeangilles Anthony. This frenchman is an artist. Beautiful industrial noise layered with a hardstyle beat... then transcending into experimental music... psychedelic experimental noise. LOL! and I fell asleep there... just couldn't leave!
Late night on Friday, Xavier and I ended up at DJ Digital Francis' Le Pardis de Digital Nation. It was an after party and Digi was spinning. Xavi & Digi started a "stump me" game. I think Digital was very impressed with Xavier's musical knowledge. They bro-downed the entire night leaving me and DJ Snowkitty dumbfounded... 'cause neither of us knew any of the tunes. LOL! I think Xavier has a new favorite dj now!
Open Trip Bromo Puncak B29/P30, Air Terjun Tumpak Sewu dan Goa Tetes Lumajang, Open Trip Bromo kali ini adalah yang sangat berbeda dengan lainnya, saking terlalu mainstreamnya foto Bromo dari Puncak Pananjakan di Puncak Songolikur atau Puncak B29 (Bromo 2.900 mdpl) dan Puncak P30 (Puncak 3000 mdpl) Kamu pasti akan tau bedanya, sudut pandang panorama Bromo dari atas awan.
Dan satu lagi lainnya yang jadi pembeda adalah di Air Terjun Tumpak Sewu atau Coban Sewu Lumajang, disebut-sebut sebagai Niagaranya Jawa Timur karena Tumpak Sewu memiliki aliran yang melebar seperti tirai.
*harga perorang sekali perjalanan, terjadwal tiap bulan dari Kota Surabaya
13-14 April
4-5 Mei
22-23 Juni
13-14 Juli
16-17 Agustus
14-15 September
12-13 Oktober
16-17 November
7-8 Desember
LIHAT PDF | DOWNLOAD PDF | PESAN SEKARANG VIA WHATSAPP
Puncak Bromo B29 dan P30, kawasan lautan pasir di area Gunung Bromo terlihat cantik dan indah dari ketinggian 2900 mdpl, maka nama lokalnya adalah Puncak Songolikur (terjemahan Jawa=puncak dua puluh sembilan) yang saat ini lebih populer dengan nama Puncak B29 (Bromo 2900 mdpl).
Lokasi Puncak B29/P30 bisa dicapai dari pintu masuk kota Lumajang, berada di Desa Argosari Kecamatan Senduro, Kabupaten Lumajang Jawa Timur. Area B29 merupakan bagian Taman Nasional Bromo Tengger Semeru (TNBTS) yang sedang giatnya diorbitkan oleh pemerintah daerah Kabupaten Lumajang.
Wisata Bromo Puncak B29/P30, Tumpak Sewu dan Goa Tetes dari Surabaya
+ Pengen menikmati keindahan Bromo dari atas awan puncak tertinggi B29/P30, cari yang mudah, murah dan gak ribet, satu orang bisa daftar dan gabung dengan peserta lainnya, berangkat dari meeting point Stasiun Gubeng Baru Surabaya terjadwal setiap bulan tanpa minimal kuota.
+ Menyambut pagi Golden Sunrise Bromo dari sudut pandang berbeda di Puncak B29/B30 Lumajang.
+ Menikmati keindahan alam Air Terjun Tumpak Sewu atau Coban Sewu di Lumajang
+ Menyusuri terjal menuju Goa Tetes Goa Eksotik berikut air terjunnya
+ Menikmati sisi lain dari Gunung Bromo dari Lumajang, rute perjalan ke Gunung Bromo kali ini tidak singgah ke Kawah Bromo, Savanah, Pasir Berbisik dan Bukit Teletubbies, Anda cukup puas dengan menyaksikannya dari ketinggian puncak B29 dan P30.
Air Terjun Tumpak Sewu atau Coban Sewu Lumajang, lokasinya berada di perbatasan Kabupaten Lumajang dan Malang, Jawa Timur. Dengan air yang jatuh dari ketinggian ± 120 meter dan menjangkaunya berada di lebah curam memanjang dengan elevasi 500 mdpl.
Air Terjun Tumpak Sewu memiliki formasi unik dengan aliran air yang jatuh melebar layaknya tirai, bentukan seperti ini tergolong air terjun dengan tipe Tiered persis dengan Air Terjun Niagara di Amerika. Layak Coban Sewu juga digadang-gadang sebagai Niagaranya Jawa Timur.
Apa itu Open Trip Bromo Midnight?
Open Trip Bromo, sendiri atau minimum pemesanan satu orang Kamu sudah bisa daftar dan bergabung dengan paket Wisata Gunung Bromo. TANPA MINIMAL KUOTA, Tapi kamu gak bener-bener sendirian diatas Jeep Bromo dengan drivernya aja, akan kami gabungkan dengan kawan perjalanan yang lainnya dan kita bareng-bareng menuju gunung Bromo dari kota Malang. Jadi gak perlu susah mengumpulkan banyak orang dan patungan kalo hanya buat nyari harga murah.
Bromo Midnight, perjalanan dengan penjemputan dari kota Surabaya ini tanpa menginap, tidak harus menginap kalo cuma pengen liat pesona Golden Sunrise di Gunung Bromo.
Air Terjun dan Goa Tetes Lumajang, perpaduan antara goa dan air terjun. Goa Tetes sendiri memiliki keunikan yaitu memiliki beraneka ragam warnanya yang membuatnya terlihat eksotis. Dan di tambah lagi tebing-tebing batu yang terbentuk di Goa Tetes ini berlapis belerang sehingga menghasilkan warna kuning keemasan sehingga terlihat mencolok keindahannya juga unik. Apalagi dipadu dengan hijaunya lumut sehingga terlihat alami dan kontras
4 Alasan Kenapa Harus ke Bromo?
Meski dalam paket wisata “Open Trip Bromo Midnight” ini hanyalah perjalanan wisata selama 12 jam, tapi bukan berarti Kamu bisa gampang melupakan semuanya tentang keistimewaan gunung Bromo di Taman Nasional Bromo Tengger Semeru.
1# Golden Sunrise Bromo, berburu dan mengejar matahari pagi, fenomena saat fajar di Bromo ini sudah mendunia, coba aja cek di mesin pencari, foto-foto fenomena tentang pagi di Bromo bukan hanya jepretan dari wisatawan Nusantara aja… mendunia Brooo..
2# Kawah Gunung Bromo, pengetahuanmu tentang vulkanik di kawasan gunung Bromo pasti akan bertambah setelah menyaksikan dari dekat letupan asap dan abu dari Kawah Bromo.
3# Pura Luhur Poten, bukan hanya fenomena dan pesona alam dari Gunung Bromo yang akan lengket diingatanmu. Setidaknya Kamu juga akan tau kalo di sekitar kawasan Bromo bermukim suku Tengger yang memegang teguh keyakinannya sebagai pemeluk agama Hindu yang taat.
4# Lautan Pasir, Savana dan Bukit Teletubbies, beberapa spot lainnya di Bromo yang dipopulerkan oleh televisi atau film layar lebar, Pasir Berbisik dan Bukit Teletubbies juga akan jadi tujuan berfoto asik di alam bebas, tersimpan dalam kenangan dan sosial mediamu.
Bagaimana Dengan Biaya Wisata ke Bromo?
Bagaimana dengan biaya?, pasti lebih murah, tidak perlu kuatir karena wisata ke Bromo juga pasti perlu biaya, masih lebih mahal dari biaya jajanmu yang kamu keluarkan dalam sebulan.
Diluar jadwal Liburan Panjang (Lebaran dan Tahun Baru), Liburan Sekolah, Peak Season atau Hight Season kami berikan harga terbaik yang bisa terjangkau oleh kantong kamu
Berangkat setiap hari, dari Batu dan Malang, serta setiap Minggu dari Surabaya. Gak perlu lagi ditanya ini untuk tanggal berapa? weekend aja yah? Harga dari Explore Bromo cuma ada satu aja, berlaku untuk semua kondisi, mau hujan, panas, hari kerja atau hari nganggur semuanya sama. Kami bedakan hanya dari dimana Kamu berangkat, kota Malang atau Surabaya?
IDR 275K/orang - pemesanan minimal 1 (satu) orang. Ketemu di meeting point kota Malang. Berangkat dari Malang dan Pulang juga ke kota Malang. Lewat jalur Tumpang - Gubukklakah - Bromo.
IDR 325K/orang - pemesanan minimal 5 (lima) orang. Ketemu dan di jemput di Hotel Surabaya dan sekitarnya. Berangkat dari Surabaya dan diantar Pulang ke Surabaya. Lewat jalur Probolinggo - Tosari - Bromo
Itinerary - Rencana Perjalanan Open Trip Bromo B29/P30, Tumpak Sewu dan Goa Tetes
Hari 1. Penjemputan di Kota Surabaya
22.00-23.00 Berkumpul di Meeting Point Stasiun Gubeng Baru Surabaya
00.00-02.00 perjalanan menuju puncak B29 Lumajang
Hari 2. Explore B29/P30, Tumpak Sewu dan Goa Tetes
03.00-04.00 Persiapan sholat Subuh
04.00-04.30 Menuju puncak P30 dengan Ojeg motor
03.30-06.00 Menyaksikan Golden Sunrise dari Puncak tertinggi 3000 mdpl P30
06.00-07.00 Memandang Lansekap unik Bromo dari B29, 2.900 mdpl
07.00-08.00 Bersih-bersih badan
08.00-11.00 Menuju Coban Sewu atau air terjun Tumpak Sewu Lumajang
07.00-07.30 Menyaksikan langsung dari bibir kawah, kemegahan alam Kawah Bromo
11.00-15.00 Menikmati pesona Air Terjun Tumpak Sewu dan Goa Tetes Lumajang
15.00-22.00 Perjalanan kembali ke Surabaya
22.30 Open Trip Bromo B29 - Tumpak Sewu selesai, Sampai Jumpa di destinasi GO EXPLORE INDONESIA
Kontak Tour Operator
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
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#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
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protestart
www.decorobra.com/algunos-consejos-para-el-diseno-de-la-c...
El diseño de interiores se ha convertido en un aspecto crucial para la mayoría de los dueños de casa en estos días, especialmente cuando de cocinas se trata. Planificar los interiores cuidadosamente ayuda a mantener el espacio limpio y totalmente ordenado. Sin embargo, se cree que las cocinas son uno de los ambientes más caros de ser planificado, lo cual es cierto. El mayor porcentaje del presupuesto se considera que es por el diseño de la cocina, por lo que es crucial para planificar el espacio adecuado.
Para comenzar, se deben considerar los colores de la pared, los cuales deben ser siempre luminosos ya que animan el ambiente y además darán la oportunidad de experimentar con accesorios de colores vibrantes, como armarios o muebles. Los colores luminosos dan también una apariencia de mayor espacio, por lo que son en aconsejables, principalmente, si la cocina es pequeña.
La pileta de lavar y la cocina, siempre deben planificarse en lados opuestos. El refrigerador conviene que esté en las proximidades de la cocina, ya que facilita el acceso más rápido a los alimentos refrigerados.
También es práctico y moderno instalar una isla o desayunador en medio de la cocina, y colocar muebles debajo de ellos, y de este modo también ganar un espacio extra para guardar utensilios, platos, vajilla y demás. Sin embargo, si la cocina es pequeña, nos puede interceptar la circulación.
Para las mesadas y otras zonas esenciales deben ser utilizados azulejos sólo de colores luminosos. Esto le ayuda a mantener el espacio absolutamente limpio e higiénico.
La iluminación es otro aspecto que debe considerarse con mucho cuidado. Hoy en día, existen varias opciones disponibles en el mercado, desde donde se puede elegir algo con estilo para la cocina. Desde iluminación con rieles hasta los diversos accesorios, que puedan adaptarse al su presupuesto, al diseño del ambiente y al gusto.
Aparte de todo lo que hemos considerado para planificar el diseño de la cocina se pueden agregar unas cortinas transparentes en las ventanas, floreros, plantas de interior y otros accesorios para darle un look más vivaz a la cocina!
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總統府燃燒一天一夜
台灣在日治時期被捲入第二次世界大戰，全台飽受戰爭洗禮，死傷人數達一萬五千多人，讓老台北人刻骨銘心，莊永明表示，空襲當天包括龍山寺、大稻埕、台北橋、台大醫院都受到美軍投彈轟炸，密集毀掉都市機能，滿地都是殘磚破瓦，二二八公園當時還被炸彈炸得坑坑洞洞，一下雨就變成池塘，當時許多建物毀壞後，再也沒有重建，如二女中被迫廢校，總統府也因燒了一天一夜而受損重修。
昨天特展首日隆重開幕，邀請國寶級建築師李重耀現場解說重修總統府的歷程，八十多歲的李重耀回憶，「陳儀當時接收台灣後，原需四萬萬元經費只給三萬萬元，修不好就槍斃，經費不足加上物價波動，工程真的很難做。」
李重耀說，光是清理總統府的殘磚破瓦就需要一萬台牛車，八萬多個工人，因為經費不足，總統府原本有橢圓拱頂和精美的泥塑，修建後變成平頂，屋頂的通風孔、室內柱子的柱頭式樣也簡單
• World War II, under the Special Exhibition of Taipei's air raid
Show Time: October 2007 to December 23 Venue: 228 Memorial Hall, the basement galleries special exhibition: This exhibition from the 1930s under Japanese colonial rule of Taiwan's how to get the background to cut into the war system, describing the host defense the case of exercise, as well as Government House, the Administration's air defense education. In order to prevent air strikes, the buildings will be conducted in Taipei camouflage, and have smoke drills. In addition, the Government House to inform the public on how to implement blackouts, as well as lighting control, life in Taipei. Will also display the type of alarm and air-raid sirens, as well as anti-aircraft shelter and a bomb shelter situations. In 1938, in Taipei for the first time subjected to air raids, in 1941 Japan launched the Pacific War, in October 1944, the United States and Japan broke out in Taiwan over the tragic air off the coast of the U.S. aircraft major cities in Taiwan large-scale air strikes. The loss of air after the Japanese air superiority early in 1945, the United States landed the Philippines, the United States military aircraft such as the unhindered, indiscriminate bombing of cities in Taiwan. May 31, 1945 in Taipei's air strike was the previous Allied air raids, the U.S. military aircraft sorties, the largest bomb of the most intensive and largest number of casualties in the action, but also many of the common experience of older people in Taipei. Many important landmarks including the Governor House (now the Presidential Palace), National Taiwan University Hospital, the new parks and other places and become the tragic scene of devastation, memoirs, or visit the exhibition supported by the record as evidence. Finally, the show summed up in wartime air raids in Taipei, the cost, such as the air raid casualties, air raid damage to buildings and other situations. There is destruction there is rebirth, this exhibition also describes Taipei recovery after reconstruction, including the buildings disappear due to air strikes, such as the railway hotel, the second highest female, the Central Research Institute, Prefectural Library, Taiwan Power Co., Weights and Measures The Taiwan Shrine, the General Executive's official residence and so on, the use of images before and after the bombing of past and present, and Chan, so have not experienced major air strikes people in Taipei have the opportunity to learn about this important process in modern history, but also to tell prior to the events 228, Taiwan war Qianlei condition.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
ADOLFO VASQUEZ ROCCA _Doctor en Filosofía _ Director de 'Revista Observaciones Filosóficas'
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
REVISTA OBSERVACIONES FILOSÓFICAS
Prof. Dr. Adolfo Vásquez Rocca
Director de Revista Observaciones Filosóficas.
VÁSQUEZ ROCCA, Adolfo
Doctor en Filosofía
Valparaiso - Madrid
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com
Trayectoría Académica
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo y Arquitectura UNAB Santiago. – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. – Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Asturias, España. Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM– Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Artista conceptual. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011
PUBLICACIONES
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
dialnet.unirioja.es/servlet/autor?codigo=1053859
Publications Scientific
de.scientificcommons.org/adolfo_v%C3%A1squez_rocca
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
Biblioteca Universidad Complutense de Madrid
Directorio de recursos digitales - Ministerio de Cultura, España
roai.mcu.es/es/consulta/busqueda_referencia.cmd?campo=ida...
Biblioteca Asociación Filosófica UI
www.uruguaypiensa.org.uy/categoria_144_1_1.html
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
INVESTIGACIÓN:
Proyecto de Investigación N° DI-10-09/JM - UNAB
“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB
TRAYECTORÍA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.
Profesor de Postgrado del Instituto de Filosofía de la PUCV, Profesor asociado al Grupo Theoria Proyecto europeo de Investigaciones de Postgrado.
(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso
(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.
(2005-2008) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.
(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB
(2006-2007) Profesor de Estética, Escuela de Arquitectura, Universidad Andrés Bello UNAB
(2006) Profesor del Diplomado en Psicología Clínica "Psicopatología, subjetividad y cultura". Escuela de Psicología PUCV
(2006 - 2010) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB
(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM
(2007) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP
(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV
(2005-2010) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM
(2009-2010) Profesor visitante Florida Christian University USA
(2010) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH
(2009-2010) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.
Asignaturas y Seminarios de Postgrado impartidos:
2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".
2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"
2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"
2007 1º Seminario Sloterdijk - Nietzsche
2007 2º Seminario: Sloterdijk un pensador estético
2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"
2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"
PARTICIPACIÓN EN SEMINARIOS Y CONGRESOS
2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso. Ponencia: "Lógica paraconsistente y semántica de los mundos posibles", noviembre.
2004 Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y Embajada de Francia. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa", octubre.
2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB. Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio", septiembre
2006 Video-Conferencia UCM - UNED y A Parte Rei en ATEI Asociación de Televisión Educativa Iberoamericana, “El poder de la palabra; lenguaje y realidad”, Febrero, 2006, serbal.pntic.mec.es/~cmunoz11/video3.html
2006 Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía. Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze", octubre.
2006 Universidad Autónoma de Tlaxcala. Conferencia: "En el mismo barco: ensayo sobre la hiperpolítica, posmodernidad y globalización en Peter Sloterdijk", octubre.
2006 Universidad Autónoma de Tlaxcala. Cursillo Maestría en Filosofía: “El giro Estético de la epistemología; redescripciones de la posmodernidad”, 19 y 20 de octubre.
2006 1er Coloquio Hispanoamericano de Filosofía después de Auschwitz, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la Universidad Iberoamericana y La Asociación Filosófica de México. Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos", octubre.
2006 Coloquio internacional: Repercusiones e interacciones políticas, filosóficas y teológicas entre oriente y occidente. UNAM, Mesa ética y Responsabilidad humana, Ponencia: "Rorty: el Giro narrativo de la Ética o la Filosofía como género literario", octubre.
2007 II Coloquio Franco-Hispano-Chileno de Etnopsicología y III Seminario Internacional sobre el Espacio "El Espacio y el Lenguaje". PUCV. Ponencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro", enero.
2007 Instituto de Sistemas Complejos de Valparaíso, Ciclo: "Diálogo: Ciencia, Política y Poder. ¿Es Chile una Sociedad Justa?". Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano, mayo.
2007 Congreso Internacional Nietzsche “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”, organizado por la Universidad Veracruzana, México. Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, posthumanismo y complejidad extrahumana", octubre.
2007 Conferencia Magistral en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla, “Peter Sloterdijk; Esferas, deriva biotecnológica y el cinismo difuso de nuestras sociedades Exhaustas”, octubre.
2007 Curso en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla: “Sloterdijk; Esferas, Flujos y Redes; Antropología y Estética Posmoderna”, octubre.
2007 Conferencia Magistral Aula Magna, Universidad Nacional Autónoma de México UNAM, Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Etno-terrorismo], octubre
2007 Congreso Internacional de Fenomenología y Hermenéutica, Universidad Andrés Bello, sección Estética. Ponencia: “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”, octubre.
2000 "Reflexiones sobre Alteridad y Reconocimiento". Encuentros de la Facultad de Filosofía UCM con pensadores contemporáneos alemanes. Goethe Institut Madrid. Octubre.
2000 Ponencia en Seminario "El Reto del Espacio: Pensar con Heidegger sobre la obra de Eduardo Chillida", Facultad de Filosofía y Letras, Universidad Pontificia Comillas, Campus Cantoblanco, noviembre.
2000 Ponencia "El peso del mundo y el lento regreso del sujeto escindido en Peter Hanke", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Facultad de Filosofía UNIVERSIDAD COMPLUTENSE DE MADRID. Diciembre.
2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso Ponencia:
Ponencia "Lógica paraconsistente y semántica de los mundos posibles" (noviembre).
2004 octubre Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y EMBAJADA DE FRANCIA. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa"
2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio"
2006 I COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y II SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL OTRO". Enero, PUCV. Coloquio y moderación Ponencia de la Dra. Adela Cortina Orts
2007 CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA
Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,
Universidad Andrés Bello UNAB (17 - 19 de octubre, 2007)
2008 II Seminario "De la Filosofía a la Literatura"
Departamento de Artes y Humanidades, Universidad Andrés Bello UNAB (7 de noviembre, 2008)
Conferencia “Sloterdijk; Pensamiento, expedición y verdad”.
2008 Segundo Coloquio Interdisciplinario: “El Pensamiento de Carla Cordua y El Desarrollo de la Filosofía En Chile”.
Seminario Permanente Hegel – Marx. Facultad de Filosofía y Humanidades, Universidad de Chile UCH (13 de noviembre, 2008)
Ponencia: “En Torno a Sloterdijk y Heidegger: La recepción Filosófica”.
2008 Bienal de Artes Visuales de Honduras 2008: Diásporas del Futuro (BAVH)
Conferencia "El objetivo de la Crítica de Arte" [17 - 19 de noviembre, 2008]
2008 Congreso Internacional - Interdisciplinario de Filosofía, Córdoba, 2008. SAF Sociedad Argentina de Filosofía.
Museo - Palacio Martín Ferreyra (24 al 29 de noviembre, 2008)
Conferencia “Sloterdijk. Ontología de las distancias, concierto de transferencias e historia de la fascinación de proximidad”
2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.
Orden Hospitalaria San Juan de Dios. Conferencia inaugural:
“Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.
2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre
2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/
- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.
2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm
- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference
CONFERENCIAS INTERNACIONALES
Octubre 2006
Ciclo de Conferencias en México invitado por la Fundación Hombre y Mundo y la UNAM, 0ctubre de 2006.
- UV Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía.
Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze".
serbal.pntic.mec.es/~cmunoz11/vasquez49.pdf
- 1° COLOQUIO HISPANOAMERICANO DE FILOSOFÍA DESPUÉS DE AUSCHWITZ, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la UNIVERSIDAD IBEROAMERICANA Y LA ASOCIACIÓN FILOSÓFICA DE MÉXICO.
Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos".
- UNIVERSIDAD AUTÓNOMA DE TLAXCALA
Conferencia: "El giro Estético de la Epistemología; el estatuto óntico-semiótico de la ficción".
- COLOQUIO INTERNACIONAL: REPERCUSIONES E INTERACCIONES POLÍTICAS, FILOSÓFICAS Y TEOLÓGICAS ENTRE ORIENTE Y OCCIDENTE
Conferencia Aula Magna, UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM:
"Rorty: el Giro narrativo de la Ética o la Filosofía como género literario"
- Ponencia "Espacio y Arquitectura de la Memoria; Hölderlin Trakl y Teillier", En Taller de Investigación "Arquitectura y Humanidades", Programa de Maestría y Doctorado en ARQUITECTURA - UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM
2007 - 2010
- II COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y III SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL LENGUAJE". 9 y 12 de Enero de 2007, PUCV
Conferencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro".
- INSTITUTO DE SISTEMAS COMPLEJOS DE VALPARAÍSO ISCV
Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano" En el marco del Ciclo: "Diálogo: Ciencia, Política y Poder – ¿Es Chile una Sociedad Justa?"
www.psikeba.com.ar/actualizaciones/archivo_06_07/Institut...
- EXPOSICIÓN "Esferas, flujos y complejidad extrahumana" Galería SONAR -Arte y Estudios Culturales- Buenos Aires.
comunicacion.unab.cl/index.php?option=com_content&tas...
[octubre - noviembre de 2007]
Exposición de Pintura: "La condición posthumana", En Espacio Expositivo Itaca -Homines- Málaga.
www.homines.com/itaca/vazquez_condicion_posthumana/index.htm
Exposición "La condition Posthumaine” En Psychanalyse Gallery Paris.
- Ciclo de Conferencias en México
- Conferencias y Congresos en México, invitado por la UNAM y la Fundación Cultural Hombre y Mundo
- CONGRESO INTERNACIONAL NIETZSCHE “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”,
Universidad Veracruzana UV, México
Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, post humanismo y complejidad extrahumana".
[1 al 5 de octubre 2007]
- CONFERENCIA Y CURSILLO EN LA MAESTRÍA DE FILOSOFÍA
Benemérita Universidad Autónoma de Puebla BUAP [octubre 2007]
- CONFERENCIA MAGISTRAL AULA MAGNA de la Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México UNAM:
“Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Atmo-terrorismo]”
[9 de octubre 2007]
Agencia Universitaria de Noticias UNAM
aunam.politicas.unam.mx/Archivo/07/octubre/071010-pol.htm
- CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA
Sección ESTÉTICA
Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,
Universidad Andrés Bello UNAB [17 - 19 de octubre, 2007]
- SEMINARIO 'La Poética del Cine en Raúl Ruiz”, FESTIVAL DE CINE DE SEVILLA 2007, en colaboración con la Universidad Hispalense, Ponencia: "La Poética del Cine; sobre las permutaciones antropológicas en el cine de Raúl Ruiz”, 2 de noviembre 2007.
- 2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.
Conferencia inaugural: “Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.
- 2009 “Seminario acerca de la verdad” Tercera Versión Departamento de Artes y Humanidades, Universidad Andrés Bello.
Campus Viña del Mar - 22 de junio
Ponencia: “Sloterdijk y Heidegger. Verdad y biopolítica después de la crisis del humanismo”.
- 2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre
- 2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, Gigón - España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/
- II Seminario Local de Pensamiento
- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.
- 2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm
- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference
PROYECTOS DE INVESTIGACIÓN
2009 - 2010
- Proyecto de Investigación N° DI-10-09/JM - UNAB
- Proyecto de Investigación: “Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello
2011 - 2012
- Proyecto de Investigación N° DI-08-11/JM - UNAB
- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello
PROYECTOS DE CREACIÓN ARTÍSTICA
2007 - 2008
Exposición la Condición Post-Humana | Buenos Aires - Málaga |
Marco conceptual y Registro de Obras
ENTREVISTAS
2010
"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81
PARTICIPACIÓN EN DIRECTORIOS INTERNACIONALES Y CONCEJOS CIENTÍFICOS.
Director
Revista Observaciones Filosóficas
www.observacionesfilosoficas.net/
Revista de Filosofía Contemporánea, con secciones dedicadas a la Antropología, Estética, Epistemología, Ética, Psicología y Literatura. Indexada en Base de Datos de la Universidad Complutense de Madrid, Catalogada en UNIVERSIA.net Directorio de la Conferencia de Rectores de Universidades Españolas y el Consejo Superior de Investigaciones Científicas (CSIC); DIALNET Directorio de publicaciones científicas hispanoamericanas; LATINDEX Sistema de Publicaciones Científicas Seriadas de América Latina, España y Portugal. En BIBLIOTECA VIRTUAL MIGUEL DE CERVANTES; Les Signets de la BIBLIOTHÈQUE NATIONALE DE FRANCE: Philosophie, Revues y Centre d'Études en Rhétorique, Philosophie et Historie des Idées, Paris. Asociada al Postgrado en Filosofía - Pontificia Universidad Católica de Valparaíso y al Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. ISSN 0718-3712
Secretario de Redacción de Philosophica, Revista del Instituto de Filosofía de la PUCV. ISSN0716–1913
Editor Asociado de Psikeba, Revista de Psicoanálisis y Estudios Culturales, Buenos Aires, ISSN 1850-339X www.psikeba.com.ar
Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica.
Miembro del Consejo de Redacción de Revista Homines –Arte y Cultura– MA-739-2004, Málaga, España.
Miembro del Consejo Editorial Internacional de la Fundación Ética Mundial de México, www.eticamundial.com.mx/fundacion.html
Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil.
Miembro de la Sociedad Internacional de Bioética (SIBI) - 'Bioéticas'. Guía internacional de la Bioética
Miembro del Consejo Editorial Internacional de 'Cuadernos del Seminario' - Revista del Seminario del Espacio ISSN 0718-4247 Vicerrectoría de Investigación y Estudios Avanzados Pontificia Universidad Católica de Valparaíso.
Miembro del Consejo Editorial de Escáner Cultural - Revista de Arte Contemporáneo y nuevas tendencias, Santiago.
Miembro del Taller de Investigacion "Arquitectura y Humanidades" del Programa de Maestría y Doctorado en Arquitectura de la Universidad Nacional Autónoma de México, UNAM
Miembro del Consejo Consultivo Internacional y dictaminador de Revista de Humanidades:Tecnológico de Monterrey, México.
Director del Consejo Consultivo Internacional de Konvergencias, Revista de Filosofía y Culturas en Diálogo, Argentina. ISSN 1669-9092
COLUMNISTA DE REVISTAS Y PUBLICACIONES INTERNACIONALES, entre las que se cuentan:
A PARTE REI ISSN: 1137-8204 -Revista de la Sociedad de Estudios Filosóficos de Madrid-
NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas ISSN 1578-6730 - Universidad Complutense de Madrid.
MARGEN CERO, Miembro fundador de la Asociación de Revistas Culturales de España, ISSN 1695-4807
CUENTA Y RAZÓN, Revista de la Fundación de Estudios Sociológicos (FUNDES) de Madrid, Fundada por Julián Marías, ISSN: 0211-1381
HETEROGÉNESIS [SWEDISH-SPANISH] _ Revista de arte contemporáneo. TIDSKRIFT FÖR SAMTIDSKONST
MODALOGÍA Filosofía della moda - Italia
EIKASIA Revista de Filosofía, ISSN 1885-5679 - Oviedo, España
ENFOCARTE Revista Internacional de Arte y Cultura, España
DEBATS Revista de Filosofía y crítica cultural, ISSN 0212-0585, Institució Alfons el Magnànim, Valencia.
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (HyM), México, 2007 Publicación programada para 2009.
ENTREVISTAS
2010
"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81
TESIS DIRIGIDAS
- Tesis: "Globalización y ontología de las distancias en Sloterdijk; hacia una teoría antropotécnica de las comunicaciones". Srta. Liliana Vásquez Rocca
Grado de Magíster en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2010.
- Tesis: "El espacio interfacial de la convivencia; Micro-esfereología en Peter Sloterdijk". Srta. Lucía Muñiz, 2009
Grado de Magister en Filosofía Práctica, Colegio de Filosofía, Benemérita Universidad Autónoma de Puebla, México.
- Tesis: "Antecedentes y Alcances del problema del humanismo en "Normas para el Parque Humano" de Sloterdijk". Sr. Dusan Vuskovic.
Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2008.
- Tesis: "El desarrollo de la intimidad en el tránsito de la Psico-técnica", Sr. Jonathan Belmar Guzmán.
Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2007.
PUBLICACIONES indexadas
Publicaciones Internacionales Catalogadas en los siguientes Directorios y Bases de Datos:
Directorio de contenidos científicos, DIALNET, Universidad de la Rioja, España.
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Directorio de recursos digitales - Ministerio de Cultura, España
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Revistas Científicas de la UCM - Editorial Board
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
ISOC, CIENCIAS SOCIALES Y HUMANIDADES - CINDOC (Centro de Información y Documentación Científica), CSIC (España)
Directorio de publicaciones científicas de América Latina LATINDEX
PHILOSOPHER'S INDEX
DIALNET
ISI
SciELO
DOAJ
www.danoex.net/adolfovasquezrocca.html
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
VÁSQUEZ ROCCA, Adolfo
Doctor en Filosofía
Valparaiso - Madrid
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
REVISTA OBSERVACIONES FILOSÓFICAS
Prof. Dr. Adolfo Vásquez Rocca
Director de Revista Observaciones Filosóficas.
Mr. Adolfo Vásquez Rocca PH. D. Oxford University: International Baccalaureate IB. Theory of Knowledge _ Director
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com
Universidad Complutense de Madrid
Photo Source: www.martinsburg.com/pictorial.html/interwoven.html
When I lived in Martinsburg, West Virginia, I became interested in the history of the region. At that time I downloaded these pics. Since then, I have come across them again on my hard drive and so post them here for integrity. The source is posted as available.
Martinsburg ushered in the industrial age when Interwoven came to town and built a mill. Interwoven, later known as Martinsburg Mills, was a textile manufacturing company. William Henry Crawford originally operated Interwoven with the help of Thomas Dunn. They were responsible for overseeing the performance of the Crawford Woolen Company and the Worsted and Cashmere Company. The woolen mills were in the buildings located to the south, and the cashmere mills to the north. Although the woolen mills only started out with 15 employees, Interwoven would soon be known worldwide as the largest manufacturer of men's hosiery.
Description Source: http://www.shepherd.edu/ctcweb/CTCCatalog/general_info.html
www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html
Dracula is an acclaimed 1897 novel by Irish author Bram Stoker, featuring as its primary antagonist the vampire Count Dracula.
Dracula has been attributed to many literary genres including horror fiction, the gothic novel and invasion literature. Structurally it is an epistolary novel, that is, told as a series of diary entries and letters. Literary critics have examined many themes in the novel, such as the role of women in Victorian culture, conventional and repressed sexuality, immigration, colonialism, postcolonialism and folklore. Although Stoker did not invent the vampire, the novel's influence on the popularity of vampires has been singularly responsible for many theatrical and film interpretations throughout the 20th and 21st centuries.
He supplemented his income by writing a large number of novels, his most famous being the vampire tale Dracula which he published in 1897. Before writing Dracula, Stoker spent eight years researching European folklore and stories of vampires. Dracula is an epistolary novel, written as collection of diary entries, telegrams, and letters from the characters, as well as fictional clippings from the Whitby and London newspapers. Stoker's inspiration for the story was a visit to Slains Castle near Aberdeen. The bleak spot provided an excellent backdrop for his creation.
Dracula in Romania
After the death of Nicolae Ceauşescu, a tourist industry sprang up in Transylvania and, to a lesser extent, in Wallachia. However, Romanians have mixed feelings about linking one of their national heroes to the vampire monster.
Historical places connected to Vlad Ţepeş are publicised under a Dracula theme catering largely, but not entirely, to foreign markets. Bran Castle, which has only a very tangential connection with the historical Vlad Ţepeş, now exaggerates that connection and promotes itself as "Dracula's Castle". [4] A dungeon-themed disco, catering to a mostly Romanian crowd and located in the basement of a former inn immediately adjacent to the Curtea Veche ("Old Court") — onetime site of Vlad Ţepeş's castle in Bucharest — calls itself by the English-language name "Impaler". The well-preserved medieval town of Sighişoara, Vlad Ţepeş's birthplace, seriously considered building a Dracula theme park on the edge of town, but in the end it was decided that such a site would cheapen the beauty and history of the medieval city, and the plan was blocked. The park was then to have been built close to Bucharest (the capital, which is nowhere near Transylvania), but plans have subsequently been scrapped.
Stylist, Graphics & Photography :::: Clix Credits
"I can't wait 'til I get you on the floor, good-looking
Going hot, so hot, just like an oven
And I'll burn myself, but just had to touch it
But it's so fine and it's all mine
Hey baby, we don't mind all the watching, ha
Cause if they study close, real close
They might learn something
She ain't nothing but a little doozie when she does it
She's so fine tonight
And as long as I got my suit and tie
I'ma leave it all on the floor tonight
And you got fixed up to the nines
Let me show you a few things
All pressed up in black and white
And you're dressed in that dress I like
Love is swinging in the air tonight
Let me show you a few things
Let me show you a few things
Show you a few things about love
Now we're in the swing of love
Let me show you a few things
Show you a few things about love
Hey
Stop, let me get a good look at it
Oh, so thick, now I know why they call it a fatty
And aww, shit's so sick, got a hit and picked up a habit
But that's alright, cause you're all mine
Awww, go on and show 'em who you call "Daddy"
I guess they're just mad cause girl, they wish they had it
Oh, my killer, my thriller, yeah, you're a classic
And you're all mine tonight.."
heraldicacoronaaragon.blogspot.com.es/2011/10/la-heraldic...
Pequeña urna de alabastro policromada y decorada. En el friso delantero se observa una serie de personajes que muy bien podría tratarse de doce frailes franciscanos que miran un personaje central que usa tiara (obispo) y está en actitud de bendecir con la mano derecha y con la izquierda sostiene el gremial ayudado por dos frailes revestidos con hábito sacerdotal.
En los laterales de la urna se han esculpido sendos escudos con las armas de los Cervelló: un ciervo. Uno de los escudos está sostenido por unos ángeles de rodillas y el otro por dos figuras femeninas de pie. La cubierta o tapa es de dos aguas y se representa la figura yacente del difunto, que está vestido con cota de malla hasta los pies y encima lleva cota de malla. Lleva espada y escudo. La cabeza, cubierto con un yelmo, reposa sobre una almohada. Los pies atornillados reposan sobre el dorso de un galgo. Las manos llevan guantes de malla y descansan sobre el pecho. Los laterales están decorados con motivos vegetales. Una faja en la parte inferior del frontis del osario lleva la siguiente inscripción: "HIC JACET NOBILIS HUGO DE CERVILIONE DOMINUS DE QUEROL QUI OBIIT ANNO DOMINI MILLESIMO CCCXXXII INFRA OCTAVA BEATI FRANCISCI"
Hugo de Cervelló fue varón de La Llacuna y señor de Querol. La condesa de Estrades y su hijo, el duque de Medinaceli, son sucesores. Fue enterrado en la iglesia de San Francisco de Vilafranca, que formaba parte del convento que los franciscanos fundaron en el siglo XIII.
Traducido de patrimonicultural.diba.cat/
Petita urna d'alabastre policromada i decorada. En el fris davanter s'hi observa un seguit de personatges que molt bé podria tractar-se de dotze frares franciscans que miren un personatge central que usa tiara (bisbe) i estar en actitud de beneir amb la mà dreta i amb l'esquerra sosté el gremial ajudat per dos frares revestits amb hàbit sacerdotal.
Als laterals de l'urna s'hi han esculpit sengles escuts amb les armes dels Cervelló: un cèrvol. Un dels escuts està sostingut per uns àngels de genolls i l'altre per dues figures femenines dretes. La coberta o tapa és de dues aigües i s'hi representa la figura jacent del difunt, que està vestit amb ausberg fins els peus i al damunt porta cota de malla. Porta espasa i escut. El cap, cobert amb un capmall, reposa damunt un coixí. Els peus cargolats reposen sobre el dors d'un llebrer. Les mans porten guants de malla i descansen sobre el pit. Els laterals estan decorats amb motius vegetals. Una faixa a la part inferior del frontis de l'ossera porta la següent inscripció: "HIC JACET NOBILIS HUGO DE CERVILIONE DOMINUS DE QUEROL QUI OBIIT ANNO DOMINI MILLESIMO CCCXXXII INFRA OCTAVA BEATI FRANCISCI"
Hug de Cervelló fou baró de La Llacuna i senyor de Querol. La comtessa d'Estrades i el seu fill, el duc de Medinaceli, són successors seus. Fou enterrat a l'església de Sant Francesc de Vilafranca, que formava part del convent que els franciscans van fundar en el segle XIII.
Cashtown Inn. Gettysburg, Pennsylvania. April 2008.
From cashtowninn.com/history.html
On the Road to Gettysburg
by George F. Skoch
Stand on the front porch of the Cashtown Inn and let your eyes roam along the gentle grade of Old Chambersburg Pike as it rises past apple orchards and open fields toward the wooded slope of Cashtown Gap in South Mountain. Then let your mind wander back to the Gettysburg Campaign in the summer of 1863, when Confederate troops filled this roadway.
To an unwary observer who stood in front of Cashtown Inn on June 29 of that year, it must have looked as if the whole Rebel army had emerged from the rough, forested ridgeline when the van of Lt. Gen. A.P. Hill's Third Corps suddenly swung into view. Their crimson banners swayed with the liquid motion of marching soldiers, who were dressed in ragged butternut and gray. A gentle breeze carried with it the noise of rattling mess tins, the clanking of swords and bayonets, and the cheerful bantering of confident veterans on parade. To Cashtown Innkeeper Jacob Mickley, who witnessed the spectacle, it appeared as if “the entire force under Lee...passed within twenty feet of my barroom.”
Including a brief occupation by Confederate cavalry under Jeb Stuart in October 1862, this was the second time in less than a year that the Rebels had invaded Cashtown* (*Cashtown Inn gave its name to the peaceful crossroads village where the inn was built circa 1797. The name Cashtown was derived from the business practices of the first innkeeper, Peter Marck, who had insisted on cash payments for the goods he sold and the highway tolls he collected.)
During the Gettysburg Campaign, Robert E. Lee's Army of Northern Virginia had surged across southern Pennsylvania at will until June 28. Late that day scouts informed Lee that the Union army was north of the Potomac River and coming his way. Quickly Lee ordered his scattered army to concentrate at Cashtown, which stood strategically on his supply line back to Virginia. Within hours, legions of lean Rebel soldiers descended from Cashtown Gap and shuffled past Jacob Mickley's Inn.
As one of the oldest hostelries in the region, Cashtown Inn had served “for the entertainment of strangers and travelers” since 1815. That fateful summer of 1863, however, Cashtown Inn served hundreds of unwelcome strangers, including Confederate Gens. A.P. Hill, Henry Heth, and John D. Imboden. Suffering from a chronic ailment when he arrived at Cashtown at the head of his corps on June 29, the 37-year old Hill set up his headquarters in the relative comfort of Cashtown Inn. It was a good choice. For decades Cashtown Inn had been touted for its “healthy neighborhood; pure mountain air” and “daily bath” in fine waters from a natural spring flowing through the cellar. The cellar also included two giant brick ovens where Confederate commissaries could bake bread in abundance. (The spring and evidence of the brick ovens are visible today).
Cashtown itself was transformed into an armed camp for several days in late June and early July 1863, while the battle of Gettysburg raged just eight miles to the east. It was from there that the pivotal battle was launched when A.P. Hill sent Maj. Gen. Henry Heth's division to Gettysburg for shoes and supplies. Cashtown Inn bustled with activity during this time while Confederate officers and their staffs were quartered here. A stable located next to the Inn (but no longer standing) was used to shelter the wounded, as were many of the homes in the vicinity. Also dotting the orchards and meadows surrounding the village were hundreds of Lee's supply wagons and the cannons and carriages belonging to his artillery reserve.
Lee used many of these same vehicles to transport his wounded back to Virginia following his defeat at Gettysburg. Commander of the 17-mile long wagon train of misery, Brig. Gen. John Imboden made his headquarters at Cashtown Inn. On July 4, Imboden wrote, “About 4 pm the head of the column was put in motion near Cashtown and began the ascent of the mountain in the direction of Chambersburg.” It wasn't until the next day when Imboden passed over South Mountain with the last of the wagons that peace returned to Cashtown.
(In previous) decades Cashtown Inn has been on the declining end of almost two centuries of service. In 1948 a by-pass constructed on a segment of the Lincoln Highway (Route 30) relegated Cashtown Inn to the backwash of tourist traffic. The Inn fell to disrepair and some ill-repute. Not long ago, for example, a previous owner of this Civil War landmark had considered sub-dividing it into low-income apartments.
Preservationists take heart, though. (t)hanks to the tireless efforts of ... (former) owners Charles “Bud” Buckley and his wife Carolyn, Cashtown Inn is back, and is once again providing for the “entertainment of strangers and travelers.”... - George F. Skoch
"Reflecting Transformation"
at NO LONGER EMPTY, New York City, New York
July 30th - September 26th, 2009
www.nolongerempty.com/ ("NO LONGER EMPTY" homepage)
www.nolongerempty.com/new/pressrelease_02.html
NO LONGER EMPTY opens second exhibition in series
“Reflecting Transformation” July 30th to Sept. 26th
Press preview: Thursday July 30th , 11 am – 1pm
Opening Reception: Thursday July 30th 6-9 PM
Participating Artists: Yoko Ono, Cao Fei, Alyson Shotz, U-Ram Choe, Siebren Versteeg, Stephanie Rothenberg, Sean Slemon, Suzanne Song.
Curators: Manon Slome, Asher Remy-Toledo and Julia Draganovic
Associate curator: Julian Navarro and Tara de la Garza
Location: The Caledonia, (retail space to the right) 450 W 16th near 10th Ave.
For more information please contact: Manon Slome manon@nolongerempty.com
For images: info@nolongerempty.com
www.nolongerempty.com updates: www.nolongerempty.blogspot.com
NO LONGER EMPTY, a not for profit group that places high quality art exhibitions in vacated store fronts throughout New York City, is pleased to announce the launch of its second project in the (yet to be leased) retail space of The Caledonia under the recently opened High Line.
To reflect the revitalization of the meat packing area in general and the High Line in particular, the exhibition will reflect this urban regeneration through art works selected to reflect a theme of transformation.
Reflecting Transformations references the regeneration of the area and the transformative nature that art can have on a community. This group exhibit also reflects the minimalist aesthetic that the blank slate of a new development can afford.
NO LONGER EMPTY was conceived as a meeting point between art and the economic crisis. The organization seeks to provide a challenging platform to artists and to revitalize the empty commercial spaces by creating more traffic and showing the sites filled with positive energy instead of being just one more empty storefront in the city. We also want to support the local business community of each area through the increased flow of visitors that these exhibitions will bring.
Notes on the artists:
Yoko Ono
Conceptual and fluxus artist, Yoko Ono, will present a work from her series of space transformations which, as the artist has said, work mainly as an invocation “to constructing in your head”. The installation being presented in this exhibition will consist of security barriers which delineate a specific site in the space chosen for transformation together with the sign "SPACE TRANSFORMER IS BEING BUILT”. The installation will be accompanied by take away cards which continue the concept as one goes through the city with the invocation to be a “SPACE TRANSFORMER”.
Cao Fei
Cao Fei, aka China Tracy, has made one of the more worthwhile visual creations to come out of the popular virtual reality website, Second Life. Her practice focuses on developing the relationships and technical possibilities of film, animation and the internet to depict the swift and radical cultural changes such technology permits and fosters.
Cao Fei has developed a unique pictorial language which superimposes reality and fiction in ways such sites as Second Life makes it ever harder to distinguish. "This artwork is part of the Cisneros Fontanals Art Foundation (CIFO) in Miami."
Alyson Shotz
Creates works in a variety of media, from large-scale installations to digital photography. Her work focuses on making palpable the shape of space and inhabits a tradition of seeing our culture through the perception of nature.
Shotz will present a large scale light reflecting wall drawing which consists of computer renderings of virtual space transformed into a two dimensional drawing made out of needles and threads which reflect the light. The final work constitutes a reformulation of volume into a two dimensional work.
Her reflective pieces shift the viewer’s apprehension of space and architecture changing constantly in response to light, movement and the presence of the viewer.
U-Ram Choe
U-Ram Choe's work engages a fanciful dialog of aesthetics and machinery, explores themes of biological transformation, flight, and movement. In his recent work, large-scale metal and plastic automata materialize with such a delicacy and weightlessness that it seems to take on the shape and silhouette of an organic life form. Motors, heat and light sensitive materials add to the intricacy of Choe's kinetic sculptures. For this installation Choe will present “Jet Hiatus” first observed at an airplane scrap site in the Mojave Desert, is regarded as an inorganic creature mutated from the microscopic machine living in a gas turbine engine
Stephanie Rothenberg
Stephanie Rothenberg uses performance, video, and net-based media to create interactive situations that question relationships between individuals and socially constructed identities, lifestyles and public spaces. Referencing corporate models and their infrastructures, her work merges popular forms of advertising and market research with participatory experiences involving role-playing and fantasy. The video is a collaboration with Jeff Crouse and Annie Ok, co-director.
Sean Slemon
"Light Beam at 7 am" is a site specific installation which shows the viewer in material form what the potential sunlight could be in the Caledonia space, if the sun was not blocked by tall buildings on the opposite side of the street. The light beam installation will be constructed from construction plywood-converting an industrial material back into a natural occurrence. The plywood beam has the four edges open by a half inch, to allow bright light to flow out of them, as they run from the window to the floor. Eight fluorescent lights light up the 20 ft length of the beam.
Suzanne Song
Suzanne Song’s painting with its minimalist aesthetic is at once meditative and transformative of the notion of space and volume on the surface of the canvas. Architectural space and depth seem to be suggested by the subtlest application of paint summoning presence from a void or possibility from nothing. As the artist states: I am interested in the principles of illusion- its contradictions and paradoxes- and how illusion can be replicated to reveal a multifaceted dimension.”
Siebren Versteeg
Multi-media artist Siebren Versteeg often writes a code, goes to bed, and wakes in the morning to see what the computer created over night randomly choosing images. His works explore ideas of connectivity in our global culture, the tautological nature of material and immaterial information, and the human spiritual condition in relation to the advancement of technology. Versteeg linked together a Napster marketing slogan “Have everything and own nothing” to the teaching of eastern philosophy and Buddhism, this seemed very apt to some of the important paradoxes of the technical age - letting go, holding on.
☠ ☠
-->> **Based off CASEY JONES from Eastman & Bisley's masterpiece and swan-song to Mirage Studios, the BODYCOUNT mini-series. Photos from 2003 of this "lost" & possibly a former class-project, but one of my very first & major custom pieces. Utilizing the '03 TMNT Casey Jones as a base ( the strongest sculpt i felt for the project at the time. The attempts on the vintage figure failed ) - and murdering the weapons & accessories to match as much of the "SIMON BISLEY" chaos as possible. Casey's Hockey stick and baseball bat are wrapped in pointy spikes and duct-tape. Arnold's "American Flag" hockey mask is amoung my favourites and i also tried to fit that to the '03 styled masked packed with the figure.
Hard to recall what the base was made out of. I cannot tell if i made a custom base from scratch or added onto some other base from some other figure line. The base prolly topped off close to 14" tall and was a hodge-podge of "UGLY" elements like from the vintage TMNT line and some McFarlne scraps thrown in. There is a decapitated noggin sculpted by a former classmate topping off the base. Images from the BODYCOUNT mini-series as well as a few 4kids TMNT elements also make the base as bloody, weird n' violent as i possibly could, just like the books.
Th bio-card is the same as the 2K3 Casey bio card, but burnt, modified and bloodied to match the BODYCOUNT books, it came in a sleeve with artwork of Midnight - the Heroine of the story.
This imperfect figure was made & given to a friend & major CASEY fan as a gift. These are the only photos i have of this project.
~ t
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
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For all of the times that I tried for your smile
For making you think that I was worth the while
So your love love love love love would be mine
For sending you flowers and holding your hand
That no one was there to take a stand
But then love love love made us blind
And I’m so sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you
Im sorry that it came true but sorry doesn’t turn back time
For all that I have done to you
I wish that I could make it right
So sorry that I loved you
Sorry that I needed you
Sorry that I held you tight
And Im so sorry for…
Making you love me and saying goodbye
For being the one that taught you how to cry
It was love love love and it passed us by
For giving you every thing that you dreamed
For taking it back when I fled the scene
Sorry love, for wasting your time
And I’m so sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you
Im sorry that it came true but sorry doesn’t turn back time
For all that I have done to you
I wish that I could make it right
So sorry that I loved you
Sorry that I needed you
Sorry that I held you tight
An apology now after all of this time
Won’t make any difference tonight
But im hopin “im sorry” will open your mind
To love love love love in your life
Sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you
Im sorry that it came true but sorry doesn’t turn back time
For all that I have done to you
I wish that I could make it right (tonight)
So sorry that I hurt you
Sorry that I fell through
Sorry I was falling in love with you (I was falling in love)
Im sorry that it came true but sorry doesn’t turn back time
I'm sorry that I loved you
I'm sorry that I hurt you
I'm so sorry that I loved you
I'm so sorry that I hurt you
I'm sorry that I loved you....
willowgrovedaycamp.com/willows.html
We are two weeks into camp and we must say it has been great! This past week the children have been able to experience all the activities offered at Willow Grove Day Camp including Pony Rides, Tennis and Boating/Fishing. Week 2 of camp's theme was “Celebrate America.” Everyone had fun making Patriotic necklaces which have been sent home. In Ceramics the campers made their hand or foot prints. This week and last, the campers had a special treat at Cooking where they made “dirt” (pudding). Also, each Willows camper continues to master their techniques at swimming and can’t wait to perform their skills on visiting day. Everyone is having a terrific time, and each child has found his/her favorite activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html