html photos on Flickr

Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

www.colonel.dk

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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile

www.emergencyrooms.org/biennalist.html

Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the

ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013

thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...

www.emergencyrooms.org

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

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Encyclopedic Palace is curated by Massimiliano Gioni

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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 ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

The origins of Sony Corporation and the famous golden guinea pig by textlad

1

www.sony.net/SonyInfo/CorporateInfo/History/prospectus.html

The following is the Founding Prospectus of Tokyo Telecommunications Engineering Corporation that Mr. Ibuka drew up in 1946. (Tokyo Telecommunications Engineering Corporation) Established on May 7, 1946

During the war, I worked at Japan Precision Instrument Co. with a number of engineers testing and producing new military equipment. We worked so hard that we literally forgot to sleep or eat. After the war and dissolution of the company, about 20 of these dedicated and truly worthy engineers joined me to start Tokyo Tsushin Kenkyujo (Tokyo Telecommunications Laboratory), for he development and production of communications equipment.

The first and primary motive for setting up this company was to create a stable work environment where engineers who had a deep and profound appreciation for technology could realize their societal mission and work to their heart's content.

During the war, though we were subjected to some of the poorest conditions, we tried hard to fulfill our mission. I experienced how passion together with capabilities can be driven by a profound and fascinating mission. On the other hand, I also realized what could weaken these intense motivations.

Thus I began to conceive of ways for these motivated individuals to be united on a personal level, to embrace a firm cooperative spirit and unleash their technological capacities without any reserve. If this could be accomplished, the organization would bring untold pleasure and tremendous results, regardless of the meagerness of its facilities or the limited number of employees. The end of the war brought us closer to realize this dream.

Not just anyone, but those with similar resolve have naturally come together to embark on this new mission with the rebirth of Japan after the war. We felt no need to discuss how to prepare ourselves for such an embankment. Based on a common understanding we had developed over time, our ship sailed off naturally.

With scarce testing equipment and parts obtained from Japan Precision Instrument and capital the size of an allowance, we drew up a plan to somehow make our way through. We believed that our high aspirations and confidence coupled with our unity and technological know-how would break through any rough waves, despite the small size of our operations. Further, we began on a small scale because we were unable to foresee societal circumstances during a period when our country was facing a turning point. In addition, we realized that it would take some time for our work to be recognized and valued by the society.

However, as we actually began our operations, we realized how much Japan urgently and indispensably required a company like ours - with technological spirit and a set of management policies. We first became aware of this strong need through the activities of the Ministry of Posts and Telecommunications, the Ministry of Transportation and other government agencies related to the field of communications. Unlike the other ministries, which seemed to wallow with their problems, the ministries related to communications defined a clear direction by taking the initiative and announcing numerous detailed plans, such as the release of all-wave receivers to the general public, the liberalization and initiation of private broadcast stations, the overseeing of trial television broadcasting and the rapid rebuilding of the communications

network devastated by the war. These ministries made it seem as tough public companies were being lead by them.

Such activities had a direct influence on us. Due to our close ties with the Ministry of Posts and Telecommunications from the wartime, we soon began receiving large orders for vacuum-tube voltmeters and the like. In little time, proposals for new product research and requests for trial tests grew significantly. In addition, the licensing of all-wave receivers to the public rapidly increased interest in post-war radio programs and in radios themselves. This, coupled with a huge number of 'sets' (such equipment as gramophones) which were destroyed during the war, the demand for radios from our company's radio service division grew by the day. We were also receiving many requests to manufacture quality parts from cooperative university scholars, research laboratories and conscientious enterprises with similar intentions as us.

As mentioned above, the increase in demand from various customers made us more determined. Namely, we realized the importance and need to increase capital and equipment. I feel joy beyond expression that our diligent effort has produced such a great response from all levels of society and that our company has become successful in such a short period of time since its founding. I am delighted not only because this promises our company's rapid growth in the future, but because it means that the ideals we set forth coincided with the role and function a company had to play during the period of Japan's reconstruction.

Purpose of Incorporation

a)To establish of an ideal factory that stresses a spirit of freedom and open-mindedness, and where engineers with sincere motivation can exercise their technological skills to the highest level

b)To reconstruct Japan and to elevate the nation's culture through dynamic technological and manufacturing activities;

c)To promptly apply highly advanced technologies which were developed in various sectors during the war to common households;

d)To rapidly commercialize superior technological findings in universities and research institutions that are worthy of application in common households;

e)To bring radio communications and similar devices into common households and to promote the use of home electric appliances;

f)To actively participate in the reconstruction of war-damaged communications network by providing needed technology;

g)To produce high-quality radios and to provide radio services that are appropriate for the coming new era;

h)To promote the education of science among the general public.

Management Policies

a)We shall eliminate any unfair profit-seeking practices, constantly emphasize activities of real substance and seek expansion not only for the sake of size;

b)We shall maintain our business operations small, advance technologically and grow in areas where large enterprises cannot enter due to their size;

c)We shall be as selective as possible in our products and will even welcome technological challenges. We shall focus on highly sophisticated technical products that have great usefulness in society, regardless of the quantity involved. Moreover, we shall avoid any formal demarcation between electronics and mechanics, and shall create our own unique products uniting the two fields, with a determination that other companies cannot overtake;

d)We shall fully utilize our firm's unique characteristics, which are well known and relied upon among acquaintances in both business and technical worlds, and we shall develop production and sales channels and acquire supplies through mutual cooperation;

e)We shall guide and foster sub-contracting factories in ways that will help them become independent, and we shall strive to expand and strengthen mutual cooperation with such factories;

f)We shall carefully select employees, and our firm shall be comprised of minimal number of employees. We shall avoid to have formal positions for the mere sake of having them, and shall place emphasis on a person's ability, performance and character, so that each individual can fully exercise his or her abilities and skills;

g)We shall distribute the company's surplus earnings to all employees in an appropriate manner, and we shall assist them in a practical manner to secure a stable life. In return, all employees shall exert their utmost effort into their job.

Managing Departments

1)Service Department

When we consider the spread of all-wave receivers in society and introduction of household appliances and televisions, service departments ought to place more importance on both the quality and frequency of their services. Currently, there are not any 'radio technological service providers' in Japan that truly fulfills what their names stand for. The ones that do exist have only provided low technological services to radio dealers. With the introduction of high quality receivers in the future, these inferior service companies will inevitably disappear. On the contrary, due to a large demand for high quality receivers and the rise of venture spirit, large servicing companies that form special alliances with major hardware manufacturers will probably appear.

With this in mind, our company plans to provide the best service by utilizing both its technological skills and measuring instruments. The use of compact service cars is an example of such a service. These cars will service various weights and sizes of electronic phonographs, high quality receivers and television sets. The car contains all the necessary equipment for measuring, fixing and servicing home electronic appliances and will respond speedily to a phone call. The car will improve our work efficiency, and the number of technicians and equipment that is needed can be minimized.

For rural areas, since the number of high quality products are still small, we plan to service our products on a specific date by making arrangements with a specified radio shop.

The fact that the Japanese government allowed all-wave receivers to be used for commercial purposes, has encouraged large and small radio companies, including ours to manufacture them. Due to a lack of materials and other related issues, it will take some time for these products to actually hit the market. To respond to the needs of the consumer in the interim, we have developed a device which will easily convert the customer's hand-held receiver into all-wave receiver. However, materials for the new converting device are also not readily available. Nonetheless, due to its technological superiority and function, we have accumulated orders from consumers as well as radio shops. By next June we plan to manufacture 500 of these products for 400,000 yen in total. In the meantime, we will determine our strategy after observing how all-wave receivers perform on the market.

Orders for repair work are increasing as there are many people who were affected by the war and because of a lack of trustworthy radio shops. Our response to the situation at hand is to make profit secondary to service. We will provide reports which explain the problems in layman's terms and provide the best customer service. We will remain responsible for fixing any problem we find -no matter how complicated they may be. This will be the motto of your service department.

Additionally, we are developing and planning extra high quality receivers, electronic parts and household appliances, though they may be small in number compared to what our competitors are making. Introducing technologies from overseas, creating a library which has information and books on radios, holding workshops to educate consumers on the basics of electronics will also be important issues the service department must address.

(Service to shareholders)

We will provide in-depth service to shareholders in the future. It shall be interesting to add a membership type of a characteristic to a normal relationship between a corporation and shareholders so that members can request service anytime they wish

Additionally, we are developing and planning extra high quality receivers, electronic parts and household appliances, though they may be small in number compared to what our competitors are making. Introducing technologies from overseas, creating a library which has information and books on radios, holding workshops to educate consumers on the basics of electronics will also be important issues the service department must address.

We will give away new equipment, such as a device which prints the contents of a newspaper that it receives over the radio, to develop a more intimate relationship with the shareholders. As household appliances flourish, this becomes an extremely valid method to communicate with our shareholders.

2)Measuring Instrument Department

Compared to the number of radio manufacturers, there are only a few companies that make measuring instruments needed to produce and repair radios. The number is even smaller for radio dealers that are capable of repairing products with these instruments. Although radio receivers which are commonly used by the public can be fixed by non-scientific methods, it will not be possible to do so in the future as equipment becomes more complex, and as people begin to use high quality receivers and all-wave receivers. In the past, the reason why measuring instruments were not frequently used was because they were difficult to use and required many other additional equipment. Either way, the limited number of measuring instrument manufacturers clearly illustrates the ample room that is left for growth in this field, both technologically and from a business point of view. It is a favorable direction for any business that employs sophisticated technology. Profitability is high due to few input materials and high selling price. Moreover, there is very little competition.

Nihon Measurement Company, that we used to belong to, is one of the rare measuring instrument manufacturers. This company started with a very small capital investment and poor facilities. The reason why the company succeeded in such a short period of time is due to the great management style that was employed in its measuring instrument department.

For Totsuko, the vacuum tube volt meter (VTVM) for measuring ultra-short waves is the resulting product of 10 years of endeavor.

The great support we have received from the public is something we can definitely be proud of. Further, the fact that our instrument is one of the best in the world was proven when the Occupation Forces took the product back to the U.S. The production of the VTVM is being planned for this new company (Totsuko) since we have received 150 orders from the Ministry of Communications (about 300,000 yen). We plan to complete the production by the end of March. We are progressing very well.

Since the Ministry has plans to place orders during its fiscal year 1946 for a greater quantity than from the general public, and televisions will probably be a big hit when they are launched in the future, our company can be financially sound even with a single product - VTVM.

In addition, we plan to develop special high quality measuring instruments. We will also place great emphasis on a 'total service measuring equipment.' This measuring equipment will allow even technically untrained radio shop persons to perform analysis on high quality radios. In other words, it will be a simple fault-finding device. The spread of such equipment will make the public realize what true service really means. And we plan to make our equipment useable to small and large manufacturers.

The Service Department I have mentioned at the beginning of this section deals with the general public. The latter part refers to providing service to experts. However, the spirit and the depth of services are the same in both.

3)Communication Equipment Department

The above two departments are in charge of maintaining and managing the company's operations. In contrast, this department helps the company to grow in the future by performing research and development of special communications equipment. The Ministry of Posts and Telecommunications, the Ministry of Finance and other government agencies are aggressively planning to improve the efficiency of the communications network, which they believe is a very important issue. To respond to their needs, our company has developed the following new products.

a)Time Split Multiplex Method

Making use of the existing wire and radio, and with a simple piece of equipment, 3-4 layers of communications become possible. Research began in 1943, at Tohoku Teidai's (university)communications research center during the war. This equipment works uniquely since it employs the most advanced wave-detector technology. The aforementioned government agencies are deeply interested, and if the prototype ordered by the Railway Ministry proves to be successful, the order for the planned 12 layered ultra short wave radio phone device will be ours at an estimated price of 5,600,000 yen.

b)Simple Multiplex Telephone

This is a simple device that uses existing telephone wires to double the amount of communications. A simple multiplex telephone can be made from equipment that we developed with many years of research for a different purpose. The prototype is currently being made, vigorously, which is just another one of our talents. If it is actualized, I am sure there will be great demand for it.

c)Recordable Letter Communication Device

This device was also developed to ease the burden of memorizing communication signals for pilots during the war. However, the war ended before the product could be utilized. The sender uses a typewriter to send a message, instead of a signal emitter, and the receiver can read the output on a tape when the transmission finishes. Recordable Letter Communication Device is simple to use like a portable typewriter. The receiving unit is the size of a small safe which can be used with both radio and wire. In the future, this device can be used by telephone companies to send telegraphs over phone lines, and if someone is not home, the person who called can leave a typed message. Another application for this device is in control centers at railway stations so that commands can be printed out. The device is very convenient and can be used in many fields, but to make the actual product can be very difficult. The production of such a device requires high precision instruments. It is very difficult to make this device into a product immediately. Nonetheless, we are moving forward with the design so that we can make a prototype that is faultless.

d)Program Selection and Reception Method

This is also a device that can be made from a product which has already been developed by our company. First, the studio (sender) begins the program with a sound that is different from the actual program (for example, 'Do' for news and 'Re' for music).

Second, the listener needs the Program Selection and Recognition Receptor to detect different sounds. With this device, a listener can simply press the sound that corresponds to the program he or she wants to listen to, so that the radio automatically switches on when it recognizes the note. And when the program ends, there will be a special sound to denote the end and the radio will automatically switch off. This device can also be used to set the time on clocks and watches to time signals.

e)Other Special Parts

Of the tuning fork oscillator, filtering switch and tuning fork oscillation clock that we researched and developed for use in the war, many have potential applications in the field of communication technology. Thus, if there is demand, we plan to produce them accordingly.

<small> by Jesper Rønn-Jensen

1

Entire article on Justaddwater.dk: More Visual HTML Jokes.

Photo modified from flickr.com/photos/danielleblue/205261621/

REA by milena inaka

9 2

milenainaka.blogspot.com/2014/05/109.html

Hippy Flower by dollsalive

30

www.ebay.com/sch/dollsalive/m.html?item=121682757400&...

Cusco to machu Picchu Trek by salkantay trekking

1

SALKANTAY TREK TO MACHU PICCHU

5 DAYS - 4 NIGHTS

SALKANTAY TREK TO MACHU PICCHU

5 DAYS - 4 NIGHTS

The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine

If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.

OVERVIEW

Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.

Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.

Duration: 5 days/ 4 nights

Starting point: cusco

Ending point: cusco

Level: Moderate to Challenging

Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.

Modality: Trekking, Archaeological and Cultural

Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People

Altitude: 2,800 masl to 4,650 masl

Inca Trail alternative: Yes, the Salkantay trek is an excellent option.

Departure Dates: Daily departures

All private service departure dates are adapted to your request

Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.

ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS

DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.

We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.

Meals: Lunch, Dinner.

Overnight: Soraypampa in the tents.

Maximum Altitude: 3850 masl.

Minimum Altitude: 2850 masl.

Hiking distance: 14 km approx.

DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay

Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.

Meals: Breakfast, Lunch, Dinner.

Overnight: Chaullay in the tents.

Maximum Altitude: 4650 masl.

Minimum Altitude: 2920 masl.

hiking distance: 20km to Chaullay.

DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)

Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.

Meals: Breakfast, Lunch, Dinner.

Overnight: Santa Teresa “cola de mono campsite” in the tents.

Maximum Altitude: 2920 masl.

Minimum Altitude: 1600 masl.

Hiking distance: 15km approx.

DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes

After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.

Meals: Breakfast, Lunch, Dinner.

Overnight: in Aguas Calientes at the hotel which included in the package.

Maximum Altitude: 2350 masl.

Minimum Altitude: 2000 masl.

Hiking distance: 18 km approx.

DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco

Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.

Meals: Breakfast.

WHAT IS INCLUDED?

Pre-departure briefing at the office in Cusco

Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).

Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.

One sleeping pad per person.

1 Blanket. Or Liner.

One pillow per person.

Dining tent with tables and chairs

Kitchen tent

English speaking professional and official tourist guide (2 guides for groups of over 10 people)

1 night accommodation in Aguas Calientes

Chef and cooking equipment

Pack animals (to carry tents, food and cooking equipment) – days 1 to 4

Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4

1 emergency horse every 8 persons – days 1 to 3

Accommodation for all our staff

Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost

One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment

Boiled filtered water every day since the first lunch. For your water bottles.

Bio-degradable personal hand soaps

Bio-degradable dishwashing detergents used by our kitchen staff

Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead

First-aid kit including emergency oxygen bottle

Machupicchu entrance fee

One way bus ticket from Aguas Calientes to Machupicchu on day 4

Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.

Transfer from train station to the hotel in Cusco

24-h guest service: please ask for the emergency number available during your time of visit.

WHAT IS NOT INCLUDED?

First breakfast on day one.

Lunch on the last day after the guided tour at Machu Picchu

Walking Sticks

Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.

OPTIONAL AND RENTALS

Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.

Please tell us before final booking process.

Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.

Extra cost is $80 for the trek.

Therma-rest inflatable sleeping pad rent: US$ 5.00 per day

Entrance to the Hot Springs in Santa Teresa.

55 by knitjojo

2

www.orgumodaevim.com/orgu-patik-anlatimi.html#more-3364

Your Love is My Drug by Thomas Hawk

13 16

My write up on photographing the new Cosmopolitan of Las Vegas here

On the weekend of November 20-21, 2010, I was invited to photograph the new Cosmopolitan of Las Vegas prior to their opening December 15, 2010 in Las Vegas NV.

This set of images represents my efforts that weekend to showcase this newest resort property opening up on the Las Vegas Strip. Thanks to David Scherer from The Cosmopolitan of Las Vegas for showing me around, to Miiko Mentz at Katalyst Films for helping to arrange the shoot, and to my wife for modeling for me.

To learn more about The Cosmpolitan of Las Vegas, check out their website here or their Facebook page here.

Blue Pucker_DSC_4874 by Raul Zaldivar

www.hitthatjuice.com/store/p102/BLUE_PUCKER_SUGAR_LIPS_.html

Sour Blueberry Razzberry

Blue Pucker is a EXTREME Blueberry Razzberry slushy with a full on sour twist that will have your lips puckering. But no worries, there's no brain freeze with this slushy!

VG/PG Ratio 70/30

Available in 100ml

Ingredients: USP Grade Glycerin, USP Grade Propelyne Glycol, Natural & Artificial Flavoring, USP Grade Nicotine.

🌟Post#343 by Rαıssα ✿ Blogger

4

🌟Credits: Believe Poses

🌟Blog: momentosdadeeh.blogspot.com/2019/07/post343.html

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies by Biennalist Emergency topic by Thierry Geoffroy / Colonel : Artist

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, 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, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, 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,[43] 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.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

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42 St-Etienne Nord - la Zup @ Cité moderne de Montreynaud @ architecte Raymond Martin @Les représentations complexes des tours d’habitat populaire les textes de Rachid Kaddour ... by Mémoire 2Cité vol 90

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twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. 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.(Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine À Saint-Étienne comme ailleurs, les raisons de la réalisation de constructions si modernes durant les Trente Glorieuses relèvent en partie de la réponse donnée à la crise du logement et de la réorganisation industrielle du pays (fixation de la main-d’œuvre, industrialisation du BTP). Mais il faut aussi y voir la traduction physique d’un projet sociopolitique moderne porté par un État centralisateur et des pouvoirs publics puissants (Tomas et al. 2003 ; Dufaux et Fourcaut 2004 ; Veschambre 2011). Le pays est alors dans une période où les aspirations et idéologies portent vers la construction d’une nouvelle ère urbaine, avec ses ambitions (le bien-être, l’hygiène…), et en rupture avec les difficultés d’alors (le taudis, la maladie, l’individualisme…). www.metropolitiques.eu/Les-representations-complexes-des.... les textes de Rachid KADDOUR @ Le logement, jusqu’ici inconfortable et insuffisant, devient l’un des axes majeurs d’intervention : plus de huit millions d’unités sont construites durant la période. La forme de ces logements se doit d’être aussi moderne que le projet. De grands noms et une nouvelle génération d’architectes sont mobilisés. Ceux-ci dessinent des formes géométriques épurées et, dans les opérations importantes, les évolutions techniques leur permettent de multiplier les signaux que sont les longues barres ou hautes tours autour desquelles se structurent les autres immeubles. Comment la tour Plein-Ciel a-t-elle pu passer de symbole de modernité à « emblème d’un désastre urbain » condamné à la démolition ? Tout d’abord, une partie des équipements de la ZUP et la moitié seulement des logements sont réalisés, du fait de prévisions démographiques non atteintes (Vant 1981 ; Tomas et al. 2003). L’inachèvement accentue les désagréments de la situation à six kilomètres du centre, derrière des infrastructures lourdes. Ensuite, tout au long des années 1980 et 1990, la population de Montreynaud se paupérise (départ des plus aisés vers la propriété, montée du chômage) et « s’ethnicise », avec pour effet, suivant des mécanismes analysés ailleurs (Tissot 2003 ; Masclet 2005), que le regard porté sur elle change : dans les discours politiques et la presse, Montreynaud acquiert l’image d’un quartier dangereux. Dès lors, le quartier entre dans les réhabilitations puis la rénovation [6], mais sans effet important sur la vacance, la pauvreté, l’échec scolaire, la délinquance ou les discriminations. Pour de nombreux Stéphanois, il devient un « là‑haut » [7] relégué. La tour devient le symptôme visible de cette dégradation. Des rumeurs se diffusent dès les années 1970 sur sa stabilité et l’isolation du château d’eau [8]. Dix ans après sa livraison, seuls 50 des 90 appartements sont vendus. Cette vacance conduit à l’aménagement d’un « foyer de logements » pour personnes dépendantes psychiatriques qui accentue l’image d’un quartier de relégation. La gestion difficile du foyer et les problèmes financiers d’une partie des propriétaires amènent à classer la copropriété comme « fragile » en 2002. Une étude indique que la démolition « aurait un impact positif sur la requalification du parc de logements du quartier et permettrait également de promouvoir un changement d’image du site » [9]. Le dernier habitant est relogé fin 2008. Acte 3 : la tour Plein-Ciel, monument symbole de Saint-Étienne D’autres images du corpus indiquent toutefois que, à partir des années 2000, l’image stigmatisée de la tour Plein-Ciel comme emblème d’un grand ensemble en difficulté entre en tension avec une autre image plus valorisante d’édifice symbole de Saint-Étienne. En en faisant l’un des théâtres stéphanois de sa saga, Sabri Louatah reconnaît à la tour Plein-Ciel une place particulière dans la ville. Cette représentation se retrouve, de manière beaucoup plus consciente et militante, dans d’autres productions artistiques durant les années 2000. La tour est notamment représentée sur les affiches du festival Gaga Jazz. Si le festival se veut d’ampleur régionale, son nom montre un ancrage stéphanois – le « gaga » désigne le parler local. Le choix d’identité visuelle va dans le même sens : il s’agit « d’utiliser l’image d’un bâtiment symbole à Saint-Étienne » [10]. Pour les graphistes, la tour s’impose, parce qu’elle est « un monument connu de tous les Stéphanois ». Un monument qui a les honneurs d’une carte postale en 1987 [11], et qui, comme il se doit, est abondamment photographié. Jacques Prud’homme, par exemple, la montre sur plusieurs sténopés visibles sur son blog [12]. Pour lui aussi, la tour est l’un des « symboles de Saint-Étienne ». Saint-Étienne, ville industrielle durement frappée par la crise du logement, est exemplaire du mouvement. Les grands ensembles s’y multiplient. Implantés sur des sommets de collines aux entrées de la ville, ils doivent signifier le renouveau. Montreynaud, « nouvelle petite ville à part entière » [3], joue de ce point de vue un rôle clé. Sa tour, en sommet de colline et dont le château d’eau est illuminé la nuit, en est l’emblème, un « symbole de la modernité » [4]. La tour doit son nom au fait de proposer « des appartements en plein-ciel » [5], et l’on peut voir dans cette dénomination une valorisation de la verticalité, à la fois comme source d’oxygène et de lumière, mais aussi comme signal urbain.

Acte 2 : la tour Plein-Ciel, symbole d’un grand ensemble en difficulté Si l’on classe chronologiquement le corpus d’images identifiées, la tour Plein-Ciel ressurgit significativement dans les champs de la communication institutionnelle et des arts au tournant des années 2000‑2010. Dans la littérature, l’intrigue de la saga Les Sauvages de Sabri Louatah débute à Saint-Étienne, et la tour Plein-Ciel en est un cadre important :

Pourquoi la tour Plein-Ciel a-t-elle pu être ainsi considérée comme « un monument ancré dans le paysage stéphanois » [13] ? La combinaison peut-être unique en France d’une tour d’habitation à un château d’eau en fait un édifice singulier. Couplée avec son implantation en sommet de colline, cette singularité fait de la tour un point de repère important pour les Stéphanois, mais aussi pour les nombreux supporters de l’AS Saint-Étienne qui se rendent au stade, dont elle est voisine. D’ailleurs, la tour est utilisée comme édifice emblème de la ville sur au moins un autocollant et un tifo de supporters, aux côtés des symboles miniers (chevalement, « crassiers ») et du stade Geoffroy-Guichard. Cette représentation faisant de la tour un « monument » aurait pu sauver l’édifice, suivant un mécanisme, classique dans l’histoire du patrimoine, de défense devant une menace de démolition. De nombreux Stéphanois réagissent, et, pour l’association Gaga Jazz, « les affiches et flyers invitant les Stéphanois aux concerts de jazz font aussi office d’actes de revendication pour la conservation ». La nouvelle équipe municipale socialiste de Maurice Vincent, élue en 2008, reconnaît que la tour « représente un symbole » [14]. Elle soumet en 2010 au vote des habitants de Montreynaud deux possibilités : développer la valeur et la fonction de repère de la tour en la transformant en « symbole artistique de la ville de Saint-Étienne » [15] via l’intervention d’un plasticien, ou bien la démolir et aménager un parc : 71 % des votants se prononcent pour la démolition, soit 230 personnes sur les 318 votants. Les défenseurs de la conservation expriment un double regret : l’ouverture du vote aux seuls habitants de Montreynaud, et la très faible mobilisation de ces derniers. La démolition de la tour a lieu le 24 novembre 2011. Son foudroyage la met une dernière fois sous les projecteurs des nombreux appareils audiovisuels présents. Les images produites s’ajoutent à celles existantes, et constituent autant de traces d’un immeuble dont il n’en reste plus aucune sur le terrain. Cette fin dramatique donne à cette chronique des allures de représentation théâtrale, en trois actes : naissance puis mort de l’édifice, avec un ultime soubresaut sous la forme d’une tentative vaine de sauvetage au nom du patrimoine. C’est une troisième définition du terme de représentation qui est mobilisée dans cette conclusion. Ce sont en effet des représentations, en images et en mots, qui ont permis de constituer cette chronique de la tour. Cette dernière révèle que trois représentations mentales sont associées à l’édifice et à sa verticalité : pour la puissance publique ayant commandé sa réalisation et pour les premiers résidents, la tour est un symbole de modernité ; pour une partie des Stéphanois, mais aussi pour les acteurs ayant décidé sa démolition, elle est l’emblème d’un grand ensemble stigmatisé ; et enfin, pour d’autres Stéphanois, habitants de Montreynaud ou artistes entre autres, la tour est un objet phare et patrimonial dans le paysage de Saint-Étienne. Aux côtés, par exemple, de la Tour panoramique à la Duchère (à Lyon), qui a été profondément rénovée, cette mise en évidence de la trajectoire des perceptions de la tour Plein-Ciel permet d’expliciter que la verticalité dont nos villes ont hérité, tout du moins celle présente dans les grands ensembles, fait l’objet d’un système de représentations complexe et en tout cas plus varié que celui présenté dans les discours de légitimation de la rénovation urbaine.

Bibliographie Dufaux, F. et Fourcaut A. (dir.). 2004. Le Monde des grands ensembles, Paris : Créaphis.

Louatah, S. 2011. Les Sauvages, tome 1, Paris : Flammarion–Versilio. Masclet, O. 2005. « Du “bastion” au “ghetto”, le communisme municipal en butte à l’immigration », Actes de la recherche en sciences sociales, n° 159, p. 10‑25.

Tissot, S. 2003. « De l’emblème au “problème”, histoire des grands ensembles dans une ville communiste », Les Annales de la recherche urbaines, n° 93, p. 123‑129.

Tomas, F., Blanc, J.-N. et Bonilla, M. 2003. Les Grands Ensembles, une histoire qui continue, Saint-Étienne : Publications de l’université de Saint-Étienne.

Vant, A. 1981. Imagerie et urbanisation, recherches sur l’exemple stéphanois, Saint-Étienne : Centre d’études foréziennes. Veschambre, V. 2011. « La rénovation urbaine dans les grands ensembles : de la monumentalité à la banalité ? », in Iosa, I. et Gravari-Barbas, M. (dir.), Monumentalité(s) urbaine(s) aux XIXe et XXe siècles. Sens, formes et enjeux urbains, Paris : L’Harmattan, p. 193‑206.

Notes

[1] Extraits tirés du film Saint-Étienne, on en parle (Atlantic Film, 1970) associé à l’exposition.

[2] Dont Les grands travaux à Saint-Étienne, ville de Saint-Étienne, 1974.

[3] Brochure publicitaire Montreynaud, Saint-Étienne, résidence les Hellènes, non daté.

[4] Propos tenus par un habitant installé dès l’époque.

[5] Brochure publicitaire Des appartements en plein-ciel. La tour de Montreynaud, non daté.

[6] Avec, dans un premier temps, le grand projet de ville (GPV) en 2001, puis la convention avec l’Agence nationale pour la rénovation urbaine (ANRU) en 2005.

[7] Expression régulièrement entendue lors des entretiens.

[8] « Le château d’eau : mille m³ qui ne fuiront pas », La Tribune, 17 novembre 1978, p. 14.

[9] Lettre d’information aux habitants de Montreynaud, ville de Saint-Étienne, mai 2003.

[10] Entretien avec Damien et Sébastien Murat (DMS photo), graphistes.[14] Propos de l’adjoint à l’urbanisme, « Tour Plei

« La tour Plein-Ciel se dressait avec une majesté sinistre au sommet de la colline de Montreynaud […]. À l’aube du XXIe siècle, sa démolition avait été plébiscitée par les riverains […]. La célèbre tour au bol était visible depuis la gare en arrivant de Lyon, et beaucoup de Stéphanois la considéraient […] comme le point doublement culminant de la ville : du haut de ses soixante-quatre mètres qui dominaient les six autres collines mais aussi en tant qu’emblème, d’un désastre urbain éclatant et d’une ville résignée à la désindustrialisation » (Louatah 2011, p. 89).Cette description exprime bien la situation dans laquelle la tour se trouve à la rédaction du roman : en attente de démolition. En 2011, les photographies de Pierre Grasset (voir un exemple ci-dessous), missionné par la ville, montrent l’édifice moribond. L’image de la tour est en France encore fortement attachée à celle du logement populaire, du fait notamment de la présence de ce type d’édifice dans les grands ensembles. Or, si l’on parle des tours d’habitat populaire depuis 2003, c’est essentiellement à propos des démolitions : l’Agence nationale pour la rénovation urbaine (ANRU) incite les bailleurs à détruire prioritairement dans les zones urbaines sensibles les immeubles les plus imposants, dont les tours les plus hautes. Mais l’image négative du « problème des banlieues » et de ses dysfonctionnements est-elle la seule associée aux tours d’habitat populaire ? Ne tend-elle pas à laisser dans l’ombre d’autres représentations attachées à ces édifices ?Une réflexion sur la tour Plein-Ciel à Saint-Étienne est, sur ces points, riche d’enseignements. Tenant une place prépondérante dans le paysage stéphanois, emblématique de l’image des grands ensembles, cette tour édifiée en 1972 est démolie en 2011. La constitution et l’analyse d’un corpus d’une dizaine d’images promotionnelles et artistiques (films, photographies de communication) la mettant en scène permet d’en établir une chronique. Cette dernière met en évidence un système de représentations complexe : tout au long de ses quarante ans d’histoire, l’édifice est en effet perçu comme symbole de modernité, emblème de grand ensemble en difficulté et monument dans le paysage stéphanois. Ces deux dernières représentations, l’une stigmatisée, l’autre valorisée, coexistent même lors des dernières années de la vie de l’édifice. Dans toutes ces représentations différenciées et concurrentes, la verticalité de l’édifice tient un rôle essentiel.Acte 1 : la tour Plein-Ciel, symbole de modernité L’image la plus ancienne identifiée date de 1970. Il s’agit d’un cliché de la maquette de la zone à urbaniser en priorité (ZUP) de Montreynaud, pris sur le stand de l’exposition « Saint-Étienne demain » de la Foire économique. Cette exposition vante les grandes opérations d’urbanisme en cours dans la ville, et vise à montrer « les transformations de la cité et son nouveau visage », afin de rompre avec la « légende de ville noire, industrielle et fixée dans le XIXe siècle » [1]. L’exposition fait partie d’une communication orchestrée par le maire Michel Durafour (1964‑1977). À partir de 1973, les reportages photographiques ou les films [2] mettent à l’honneur Montreynaud (jusqu’à 4 400 logements prévus) et en particulier sa tour Plein-Ciel (par l’architecte Raymond Martin), avec sa verticalité (18 niveaux), le château d’eau qui la coiffe et sa situation en rupture avec la ville ancienne. -La Tour Réservoir Plein Ciel était un immeuble de logement situé à Saint-Étienne, dans le quartier de Montreynaud, classé en zone urbaine sensible. Elle culminait à 63 mètres de haut (92 avec l'antenne).

La tour avait été construite en 1972 par l'architecte Raymond Martin, l'antenne de 63 mètres de haut reste jusqu'en 1992 avant de retour en 1996 afin de répondre à la demande considérable en logements. Elle était considérée comme un symbole du quartier. Visible de loin, elle permettait de repérer le quartier dans la ville.Sa destruction a été effectuée le 24 novembre 2011 à 10 h 45 par foudroyage, après le vote majoritaire (73 %) en faveur. --------------------------------------- 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 ..missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695... Mémoire2cité Mémoire2Ville Mémoire de l'Habitat,içi la page listant mes 43 albums photos disponibles, çe x 1000 pour chacuns d'entre eux ..Merci aux 5859 followers qui porte une attention particuliere à nos quartiers..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

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 , Levittown: The Construction and Systematic Execution of Discrimination in Modern Suburbia (NHD 2018) www.youtube.com/watch?v=9_KrD6PkX0M … … 17000 maisons en 2 ans un record dans l histoire des annees 60 @ la grande Acceleration @ Un point de bascule avec le changement de regime d'existence les 30 glorieuses americaine @ la constructions de masse.., ici LEVITTOWN a LONGISLAND, 17000 pavillons en 2 ans un Record...Yes this is it my Our Home Town: Levittown, PA (1954) - www.youtube.com/watch?v=9_KrD6PkX0M les 30 glorieuses atomique @ le projet PLOWSHARE de 1957 LE FILM ICI www.youtube.com/watch?v=kpjFU_kBaBE … STRAUSS le promoteur du nucleaire Americain les 30 glorieuses Américaine @ quand celles çi ratent le coche sur le developpement solaire... les occasions manquées de soigner notre humanité..www.dailymotion.com/video/xuxrii?playlist=x34ije 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 - 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.. A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.

Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.

La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.

- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.

- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)

Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.

- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.

2 - EntrepaloV2-3Ac-1800 by Cosas Visuales

2

Madrid Poster Art 2009 by Guillermo de la Madrid

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Jesús y María 14, Lavapiés.

Más sobre ello aquí.

¡ La Antigua Guatemala is also happy ! by Click de Kika

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More : reciclajeconerika.blogspot.com/2014/07/la-antigua-guatema...

1. La Fuente de los Deseos, 2. La Fuente de los Deseos .., 3. Por muy larga que sea la tormenta, el sol siempre vuelve a brillar entre las nubes., 4. La niña del Color, 5. La Tejedora de Sueños, 6. Detalles, 7. Esperanzas, 8. Antigua Guatemala, 9. Detalles, 10. La Fé se llena de color, 11. Pila Municipal (Mi primer HDR ;) ), 12. Iglesia de Jocotenango, 13. Peticiones de color, 14. Fue Poesia !!, 15. Es tán simple ..., 16. El cielo era azul ..., 17. Hermosa Luna / Lovely Moon, 18. Filochofo, 19. En sus manos / In his hands, 20. Untitled, 21. Como nace el Universo ?, 22. Fiesta de color / Feast of Color, 23. 5:55 pm Un atardecer en Antigua Guatemala, 24. Volcán de Agua en Antigua Guatemala, 25. El color también tiene sabooooor !!!, 26. La Familia Colorida / The colored family, 27. Aldaba / Knocker, 28. Calle del Arco en Antigua Guatemala al fondo el Volcán de Agua ... siempre bello !, 29. Aquel viejo farol .., 30. La sombra de La Cruz / The shadow of the cross, 31. Azul / Blue, 32. La Sombra del Farol, 33. Colores Coloniales, 34. 1 año en Flickr !! Gracias amig@s / My first year in Flickr !! Thank my friends35. Not available36. Not available

Created with fd's Flickr Toys

3D, Trucks, Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California, 2009.10.18 16:40 by Reverend Doctor Wizard ďIsney

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[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California

This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!

Notice that there are no springs in this design, any spring action is from the steel and wood supports.

The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.

SOUTHERN PACIFIC RAILWAY POST OFFICE #12

BUILT: c.1880 BY CARTER BROTHERS

WEIGHT: 13 TONS

LENGTH: 43'

DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD

This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.

As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they

had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.

By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.

dsc00673, 34.154469,-118.307759, 2009.10.18 16.40.54, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Trucks.jpg

Palácio do Itamaraty, Brasília, Brasil - Itamaraty's Palace, Brasília, Brazil - 15-06-2011 - IMG_4208 by Flávio Cruvinel Brandão

3 5

Palácio Itamaraty

Veja a localização no endereço wiki.worldflicks.org/palácio_do_itamaraty_-_ministry_of_...

A seguir, um texto, em português, da Wikipédia, a Enciclopédia Livre:

O Palácio Itamaraty[1], também conhecido como Palácio dos Arcos, e os anexos foram projetados pelo arquiteto Oscar Niemeyer. O Palácio foi inaugurado em 21 de abril de 1970. Foi a sede do Ministério das Relações Exteriores, quando dos primórdios de Brasília. Atualmente, três edifícios compõem a sede do Ministério: o Palácio, o Anexo I e o Anexo II, conhecido popularmente como "Bolo de Noiva". O Palácio possui o maior hall sem colunas do mundo, com área de 2.800m².

Palácio dos Arcos:

Palácio dos Arcos foi o primeiro nome dado ao edifício, devido aos arcos da fachada. No entanto a tradição do nome Itamaraty foi mais forte e o Palácio seguiu chamando-se Palácio Itamaraty. Em seu interior, possui painéis de artistas como Athos Bulcão, Rubem Valentim, Sérgio Camargo, Maria Martins e afresco de Alfredo Volpi. O paisagismo interno e externo é de Roberto Burle Marx. Em frente ao Palácio do Itamaraty, sobre o espelho d'água, encontra-se a escultura Meteoro, desenhada por Bruno Giorgi.

A pedra fundamental do Palácio foi lançada em 12 de setembro de 1960, no entanto este só foi efetivamente concluído e inaugurado em 1970, devido às dificuldades técnicas para atender às inovações do projeto.

Anexo II:

O anexo II que, por sua forma circular, também é conhecido como "Bolo de Noiva", teve sua construção iniciada em 1979 e foi concluído em 1986.

↑ Pelo acordo ortográfico em vigor, o termo deve ser grafado Itamarati, termo que, pelo menos desde o Formulário Ortográfico de 1943, foi atualizado.

Projeto de Oscar Niemeyer, é a sede do Ministério das Relações Exteriores, também conhecido como Palácio dos Arcos. À sua frente, sobre a água, está o “Meteoro”, obra de Bruno Giorgi formada por cinco blocos de mármore representando os cinco continentes. Possui jardins internos, várias obras de arte e sua decoração baseia-se no contraste entre o antigo e o moderno.

O Palácio do Itamaraty em Brasília é uma obra prima na Esplanada dos Ministérios

da capital do Brasil, a única cidade construída no século XX laureada pela Unesco como

Patrimônio Cultural da Humanidade, em 1989. O Palácio denota o gênio de seus criadores - o

arquiteto Oscar Niemeyer e engenheiro estrutural Joaquim Cardozo, e a ousadia e qualidade dos

profissionais de projeto e construção do Brasil. Baseado em documentos originais e depoimentos

do pessoal envolvido na construção, entre 1963 e 1970, o objetivo deste artigo é recuperar a

história do monumento, evidenciando seus mais importantes aspectos: plantas de arquitetura e do

projeto estrutural e detalhes gerais das técnicas construtivas e materiais. Uma análise estrutural

foi efetuada por meio do programa computacional SAP2000 (1995), que forneceu modelos para o

cálculo dos esforços internos nos elementos, momentos fletores e deslocamentos. O

dimensionamento das colunas típicas de concreto armado e vigas, segundo a norma brasileira

NBR 6118: 2003 (ABNT, 2004), mostrou as armaduras de aço de acordo com os padrões de

segurança, inclusive considerando as prescrições sobre fluência do concreto. Um programa de

avaliação estrutural e diagnóstico do monumento foi realizado, mostrando que a situação presente

da estrutura é adequada. Todavia, a manutenção preventiva imprópria da edificação é um fato

preocupante, como outros monumentos do patrimônio de Brasília, cuja importância exige

especial atenção e planejamento especifico para preservá-los para as futuras gerações. Veja mais sobre "A ESTRUTURA DO PALÁCIO DO ITAMARATY EM BRASÍLIA:

ASPECTOS HISTÓRICOS E TECNOLÓGICOS DE PROJETO,

EXECUÇÃO, INTERVENÇÕES E MANUTENÇÃO" em academic.uprm.edu/laccei/index.php/RIDNAIC/article/viewFi...

Itamaraty Palace (Palácio do Itamaraty) is the name of the building of the head office of the Ministry of Foreign Affairs.

Itamaraty is one of Niemeyer's most radiant buildings. The bridge over an enormous ornamental pool dotted with islands of tropical plants leads to one of the largest public art collections in Brazil.

The massive 220-square-meter (2,368 sq. ft.) main hall on the ground floor is free of columns and features a 2.3 meter-wide (7.5-foot) spiral staircase without a banister. Athos Bulcão created the embossed marble walls. Burle Marx designed the gardens, featuring plants from the Amazon region, and Bruno Giorgi (the same artist who created the Hanging Angels in the Brasilia Cathedral) carved the sculpture Meteoro from a single four-ton block of Carrar marble, which has been exposed in the water garden in front of the Palace since 1967.

There are also numerous works by other great artists o display, including sculptures by Maria Martins, Victor Brecheret and Alfredo Ceschiatti, and paintings by Portinari, Manabu Mabe and Alfredo Volpi. Foreign artists such as Frans Post, Rugendas and Debret also depict scenes of Brazil's past.

On the upper floor, visitors can see the desk Princess Isabel used to sign the Lei Áurea (the law which abolished slavery in Brazil) in 1888 and a triple-seat bench from Bahia with each of the places curiously baptized as fofoqueira (gossiper), conversadeira (chitchatter) and namoradeira (flirter).

Brasilia’s Itamaraty Palace is a masterpiece in the Ministries Esplanade of Brazil’s

capital, the only city built in the XX Century awarded by Unesco as a Mankind’s Cultural

Heritage, in 1989. The Palace denotes the genius of its creators, architect Oscar Niemeyer and

structural engineer Joaquim Cardozo, and the daring and quality of the design and construction

experts in Brazil. Based on original documents and statements of the personnel involved with its

construction, between 1963 and 1970, the purpose of this paper is to recover the monument

history, putting in evidence its most important aspects: architectural drawings, structural design

and general details of construction techniques and materials. A structural analysis was carried out

by means of the computational software SAP2000 (1995), which provided models for the

calculation of elements internal forces, moments and displacements. Calculations of typical

reinforced concrete columns and beams according to the Brazilian code NBR 6118: 2003

(ABNT, 2004) showed the steel reinforcements in agreement with current safety standards,

including if concrete creep is taken into account. A structural assessment and diagnosis

programme of the monument was conducted, showing that its structure present situation is

adequate. However, the building ineffective routine maintenance is a worrying fact, like others

Brasília Heritage monuments, whose importance ask for special attention and specific plans to

preserve them for the future generation.

See more about "THE STRUCTURE OF PALÁCIO DO ITAMARATY IN BRASILIA:

HISTORICAL AND TECNOLOGICAL ASPECTS OF THE PROJECT,

CONSTRUCTION, INTERVENTIONS AND MAINTENANCE"

at academic.uprm.edu/laccei/index.php/RIDNAIC/article/viewFi...

See the more at wiki.worldflicks.org/palácio_do_itamaraty_-_ministry_of_...

AS68 - 19 by Hans Wendland

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"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

FASHION SHOW BY "LIVE FAST" NYC

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

Biography

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.

slow-dance-debate-format--venice-biennale-is-the-world-doing-fine-outside-the-biennale-_5814522556_o by Thierry Geoffroy / Colonel : Artist

1

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

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

#biennalevenice

Institutional Critique

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

Culture, Collective History, Group of Portraits, Photographic Source

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

Personal Histories, Alter Egos and Avatars

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

, 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

kern invite 08 - varsity by AndyNoise.Com

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

Varsity Girls - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tijerra Lynch 18:58.24 1 1 1

2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1

3. Garces Monica Guzman 19:15.89 3 3 1

4. North Celilia Lopez 19:21.87 4 4 1

5. Ridgeview Ashley Duran 19:23.47 5 5 2

6. Ridgeview Jessica Huizar 19:25.81 6 6 3

7. Foothill Natalie Fernandez 19:35.65 7 7 1

8. East Lucia Garcia 19:46.20 8 x 1

9. Stockdale Amber Nelson 19:59.40 9 8 1

10. Taft Megan Thompson 20:01.34 10 x 1

11. Stockdale Carolin Haney 20:01.70 11 9 2

12. Stockdale Shelbe Pennel 20:03.86 12 10 3

13. Shafter Moriah Milwee 20:05.23 13 11 2

14. Ridgeview Desiree Armendariz 20:08.00 14 12 4

15. Arvin Tanya Hernandez 20:10.02 15 x 1

16. Highland Nichole Berry 20:19:01 16 13 1

17. BHS Sarah Baker 20:25.37 17 14 1

18. North Medeline Maier 20:29.38 18 15 2

19. Ridgeview Monica Lazo 20:33.39 19 16 5

20. Shafter Lindsee Handel 20:36.70 20 17 3

21. Centennial Jessica Folsom 20:41.80 21 18 1

22. BHS Emily Shuford 20:45.35 22 19 2

23. Ridgeview Linda Gonzalez 20:58:28 23 20 6

24. BHS Gabrielle Lerma 21:03.97 24 21 3

25. Stockdale Courtney Moore 21:06.02 25 22 4

26. North Meagan Menzel 21:10.17 26 23 3

27. BHS Gracie Garcia 21:11.76 27 24 4

28. Foothill Perla Veloz 21:13.21 28 25 2

29. Foothill Crystal Rodriguez 21:20.30 29 26 3

30. Independence Katelynn Webb 21:21.51 30 27 1

31. Golden Valley Karina Rocha 21:23.57 31 28 1

32. Shafter Katerina Plaza 21:27.21 32 29 4

33. North Blanca Perez 21:27.98 33 30 4

34. Wasco Amanda Castellon 21:28.25 34 31 1

35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4

36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1

37. Highland Gabi Rodier 21:34.56 37 34 2

38. Centennial Margaret Martinez 21:35.39 38 35 2

39. Stockdale Cynthia Lopez 21:35.61 39 36 5

40. Centennial Jessica Crowe 21:43.49 40 37 3

41. Highland Hilaria Vasquez 21:43.76 41 38 3

42. North Yadira Perez 21:49.62 42 39 5

43. Foothill Erica Castro 21:53.39 43 40 5

44. Centennial Stephanie Dittman 21:55.56 44 41 4

45. Independence Natalie Ambriz 22:08.45 45 42 2

46. Stockdale Madison Schutzner 22:14.92 46 43 6

47. Highland Katherine Mayberry 22:16.42 47 44 4

48. Centennial Jorey Braughton 22:18.95 48 45 5

49. North Kaylee Meyer 22:20.98 49 46 6

50. Garces Lauren Brown 22:21.19 50 47 2

51. Golden Valley Denise Silva 22:23.90 51 48 2

52. Foothill Violeta Quintanar 22:24.92 52 49 6

53. Highland Desiree Martinez 22:25.59 53 50 5

54. Independence Sara Sullivan 22:25.95 54 51 3

55. Garces Lizbeth Lopez 22:28.11 55 52 3

56. Garces Tammy Vu 22:35.68 56 53 4

57. West Selam Habebo 22:39.75 57 x 1

58. Shafter Leana Lara 22:51.69 58 54 5

59. Independence Carlie Croxton 22:55.06 59 55 4

60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1

61. Foothill Maria Zepeda 22:57.55 61 56 7

62. Garces Marissa Machado 22:57.92 62 57 5

63. Shafter Mayra Torres 23:00.88 63 58 6

64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3

65. Ridgeview M. Salgado 23:14.56 65 60 7

66. Golden Valley Anna Avina 23:20.23 66 61 4

67. Golden Valley Ninive Alveno 23:26.73 67 62 6

68. Golden Valley Mercedes Salgado 23:26.73 68 63 5

69. Centennial Paige Anderson 23:30.27 69 64 6

70. Garces Sammie Lobardo 23:34.37 70 65 6

71. Arvin Bianca Quinonez 23:41.85 71 x 2

72. Kern Valley S. Hinkey 23:42.47 72 x 1

73. Frontier Ariel Driskill 23:43.12 73 66 1

74. Centennial J. Estrada 23:50.91 74 67 7

75. Kern Valley S. Hazzard 23:51.80 75 x 2

76. Garces G. Ortiz 23:54.66 76 68 7

77. North Priscilla Cruz 23:55.51 77 69 7

78. BHS Kristina Logan 24:04.10 78 70 5

79. Frontier Jasmine Mattos 24:05.42 79 71 2

80. Stockdale Delilah Diaz 24:10.83 80 72 7

81. West Wennie Agbalog 24:28.90 81 x 2

82. Wasco Anna Orozco 24:29.57 82 73 2

83. Wasco Ruby Jacabo 24:30.22 83 74 3

84. Tehachapi Anna Duke 24:33.57 84 75 2

85. Wasco S. Castellon 24:42.66 85 76 6

86. Independence Shelby Woolf 24:58.35 86 77 6

87. BHS Sarah Stidham 24:58.76 87 78 6

88. Arvin Gaby Gomez 25:04.17 88 x 3

89. Highland Cristina Valenzuela 25:05.21 89 79 6

90. McFarland Monica Gonzalez 25:42.30 90 x 1

91. Tehachapi Susie Cuevas 25:57.15 91 x 3

92. Wasco B. Medina 26:00.11 92 80 4

93. Cesar Chavez Shannan Albay 26:00.32 93 x 2

94. BC Tiffany Rodriguez 26:26.77 94 x 1

95. Tehachapi Ariel Deval 26:50.73 95 81 4

96. Wasco A. Rios 27:14.74 96 82 5

97. Independence Samantha Antu 27:17.44 97 83 5

98. Tehachapi L. Shoemaker 27:44.92 98 84 5

99. BC Victoria Wheeler 28:09.47 99 x 2

100. Tehachapi J. Bahera 29:20:93 100 85 6

101. Frontier T. See 29:29.12 101 86 3

102. Frontier Savanah Olson 30:18.04 102 87 4

103. Frontier A. Rojas NT 103 88 5

AS69 - 38 by Hans Wendland

"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

www.punkglobe.com/jaynecountyinterview0809.html

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

www.facebook.com/group.php?gid=34004014453&ref=ts

Description

KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA

STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!

ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...

ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA

JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING

MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH

A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!

FASHION SHOW BY "LIVE FAST" NYC

AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY

A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

Biography

Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.

Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]

In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.

In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.

In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.

In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.

Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.

wolf pack invite 08 - varsity by AndyNoise.Com

Wolf Pack Invite 09/27/08

River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008

www.andynoise.com/wolfpack08.html

Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.

Varsity Boys Team Results

1 MCFA McFarland 25

2 PADA Palmdale 95

3 RIDG Ridgeview 118

4 SHAF Shafter 130

5 BAEA East Bakersfield 142

6 BAKE Bakersfield 174

7 WASC Wasco 176

8 STOC Stockdale 210

9 FTHL Foothill 233

10 GARC Garces Memorial 254

11 ARVI Arvin 321

12 NORT North 324

13 Fron Frontier 345

14 SOUT South 404

15 BACH Bakersfield Christian 423

16 WSTB West Bakersfield 461

TFCC Taft INC

1. 16:18 179 179 Chris Schwartz Sr M FTHL 1

2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2

3. 16:38 450 450 Robby Baker Jr M RIDG 3

4. 16:44 297 297 Marco Perez So M MCFA 4

5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5

6. 16:51 294 294 Marco Camargo Jr M MCFA 6

7. 16:54 451 451 Alex Garcia Jr M RIDG 7

8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8

9. 16:58 295 295 Eddie Garcia Sr M MCFA 9

10. 17:04 296 296 Francisco Nava So M MCFA 10

11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11

12. 17:10 402 402 Adrian Ramos Jr M PADA 12

13. 17:16 400 400 Victor Hernandez Sr M PADA 13

14. 17:19 72 72 Andrew Ariey Sr M BAKE 14

15. 17:20 403 403 Daniel Ramos Jr M PADA 15

Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.

Varsity Girls Team Results

1 RIDG Ridgeview 45

2 SHAF Shafter 73

3 PADA Palmdale 94

4 NORT North 95

5 STOC Stockdale 124

6 FTHL Foothill 142

7 BAKE Bakersfield 142

8 GARC Garces Memorial 189

9 Fron Frontier 243

10 SOUT South 278

BAEA East Bakersfield INC

ARVI Arvin INC

WASC Wasco INC

TFCC Taft INC

WSTB West Bakersfield INC

BACH Bakersfield Christian INC

1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF

2. 21:04 430 430 Tijerra Lynch So F RIDG

3. 21:07 369 369 Merino Jennifer Sr F PADA

4. 21:10 428 428 Jessica Huizar Jr F RIDG

5. 21:12 89 89 Lucia Garcia Jr F BAEA

6. 21:17 208 208 Monica Guzman Jr F GARC

7. 21:23 330 330 Cecilia Lopez Sr F NORT

8. 21:33 90 90 Sophia Garcia So F BAEA

9. 21:35 136 136 Natalie Fernandez So F FTHL

10. 21:46 2 2 Tonya Hernandez Jr F ARVI

11. 21:53 624 624 Alejandra Gutierrez Sr F WASC

12. 21:55 372 372 Anaiz Ortiz Sr F PADA

13. 21:56 426 426 Ashley Duran Sr F RIDG

14. 22:05 459 459 Lindsee Handel So F SHAF

15. 22:12 45 45 Gabrielle Lerma So F BAKE

JV Boys Results

1 MCFA McFarland 29

2 RIDG Ridgeview 72

3 BAEA East Bakersfield 105

4 PADA Palmdale 118

5 SOUT South 150

6 Fron Frontier 160

7 WASC Wasco 161

8 STOC Stockdale 169

9 FTHL Foothill 237

10 GARC Garces Memorial 246

11 MiMo Mira Monte 278

12 BAKE Bakersfield 341

SHAF Shafter INC

TFCC Taft INC

ARVI Arvin INC

NORT North INC

1. 11:06 284 284 Bryan Calvo Sr M MCFA

2. 11:23 290 290 Pedro Sanchez Jr M MCFA

3. 11:34 661 661 Eric Sanchez Jr M WASC

4. 11:34 100 100 felix Trevino So M BAEA

5. 11:36 277 277 Bernardo Garcia Fr M MCFA

6. 11:39 440 440 Ernesto Castillo Jr M RIDG

7. 11:45 476 476 Matt Yanez Jr M SHAF

8. 11:46 439 439 Michael Anseno Sr M RIDG

9. 11:47 98 98 Marc Sotello Jr M BAEA

10. 11:47 474 474 Elias Picazo Sr M SHAF

11. 11:49 288 288 Adam Marquez Fr M MCFA

12. 11:50 394 394 Ramirez Miguel Jr M PADA

13. 11:50 393 393 Nicholas Mayo Jr M PADA

14. 11:53 276 276 Ismael Bautista Fr M MCFA

15. 12:00 101 101 Esteban Vargas Sr M BAEA

JV Girls Results

1 PADA Palmdale 27

2 STOC Stockdale 51

3 RIDG Ridgeview 66

4 MiMo Mira Monte 100

SOUT South INC

BAKE Bakersfield INC

FTHL Foothill INC

NORT North INC

GARC Garces Memorial INC

1. 14:45 494 494 Claudia Cuevas Sr F SOUT

2. 15:05 420 420 Natalia Motta Sr F RIDG

3. 15:12 528 528 Amber Crabtree Sr F STOC

4. 15:28 351 351 Amy Diaz Sr F PADA

5. 15:33 360 360 Lizet Onofre Jr F PADA

6. 15:41 364 364 Crystal Schachter Jr F PADA

7. 15:48 531 531 Shelby Pinkham Jr F STOC

8. 15:51 41 41 Felisa Torres Sr F BAKE

9. 15:52 118 118 Lucia Garcia Jr F FTHL

10. 15:54 362 362 Karina Ortega Jr F PADA

11. 15:54 328 328 Aubree Mossburg Jr F NORT

12. 16:04 365 365 Michelle Silva Jr F PADA

13. 16:06 367 367 Zaria Zambrano Jr F PADA

14. 16:07 525 525 Justine Benavidez Sr F STOC

15. 16:19 128 128 Nancy Tenorio Sr F FTHL

Frosh/Soph Boys

1 MCFA McFarland 25

2 WASC Wasco 66

3 FTHL Foothill 95

4 STOC Stockdale 114

5 RIDG Ridgeview 121

6 PADA Palmdale 139

7 SHAF Shafter 174

8 Inde Independence 183

9 TFCC Taft 254

10 BAKE Bakersfield 287

11 RFKH RFKH 312

12 GARC Garces Memorial 313

13 ARVI Arvin 337

14 MiMo Mira Monte 383

SOUT South INC

Error 2042 #N/A INC

1. 10:53 666 666 Jorge Zuniga Fr M WASC

2. 10:55 282 282 Chavez Ryan Fr M MCFA

3. 11:12 275 275 Sergio Avelar Fr M MCFA

4. 11:25 638 638 Eddie Aguilar So M WASC

5. 11:26 280 280 Leo Perez Fr M MCFA

6. 11:26 278 278 Jose Monrreal Fr M MCFA

7. 11:36 177 177 Genaro Quintanar Fr M FTHL

8. 11:38 541 541 Alex Eckley Fr M STOC

9. 11:39 279 279 Gonzalo Mulato Fr M MCFA

10. 11:40 252 252 Dwayne Facho So M Inde

11. 11:41 434 434 Brandon Magno Fr M RIDG

12. 11:42 383 383 Corey Nieto Fr M PADA

13. 11:48 543 543 Abraham Mayorga So M STOC

14. 11:49 467 467 Pablo Mendez Fr M SHAF

15. 11:50 650 650 Asencion Mendoza Sr M WASC

Frosh/Soph Girls

1 MCFA McFarland 43

2 Inde Independence 51

3 STOC Stockdale 73

4 FTHL Foothill 101

5 TFCC Taft 121

6 RIDG Ridgeview 139

7 RFKH RFKH 173

8 WASC Wasco 180

SOUT South INC

BAEA East Bakersfield INC

NORT North INC

BAKE Bakersfield INC

GARC Garces Memorial INC

1. 14:02 267 267 Corina Garcia So F MCFA

2. 14:02.6 270 270 Kathy Torres Fr F MCFA

3. 14:09 266 266 Olivia Ayon Fr F MCFA

4. 14:09 586 586 Daisy Guitron Fr F TFCC

5. 14:16 522 522 Madison Schutzner Fr F STOC

6. 14:23 484 484 Natalie Espinoza So F SOUT

7. 14:37 248 248 Sara Sullivan Fr F Inde

8. 14:37 110 110 Erica Castro So F FTHL

9. 14:44 237 237 Natalie Ambriz So F Inde

10. 14:46 93 93 Mayra Ponce So F BAEA

11. 14:50 244 244 Acacia Ingram So F Inde

12. 14:58 523 523 Victoria Valos So F STOC

13. 15:00 268 268 Liset Perezchica Fr F MCFA

14. 15:03 249 249 Katelynn Webb Fr F Inde

15. 15:20 135 135 Mari Escuedero So F FTHL

tent art work at Mannheim Kunsthalle by Thierry Geoffroy / Colonel : Artist

Geoffroy normally works with art formats like the EMERGENCY ROOM

to stimulate urgent expression by artist about today 's emergencies :

www.emergencyrooms.org/formats.html

www.emergencyrooms.org

www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie

Constructing the World: Art and Economy 1919-1939 and 2008-2018

10/12/18 to 02/03/19

Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.

Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden

Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.

How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.

Artists participating 2008-2018

Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski

Artists participating 1919-1939

Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille

www.colonel.dk contact : emergencyrooms@gmail.com

#artformats #artformat #formatart #biennale #biennalism #biennalecritic

#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary

#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique

#artintime #onlineart

#toolate

thierry.geoffroy #thierrygeoffroy #artistrole

#biennalist #Biennalism #biennalecritic

#exhibition #contemporaryart #

#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel

#kuma #kumamuseum

South aisle by david.robarts

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.

kern invite 08 - jv by AndyNoise.Com

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

JV Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tino Romero 11:17.25 1 1 1

2. Wasco Oscar Gomez 11:26.11 2 2 1

3. East Marc Sotello 11:26.90 3 x 1

4. Shafter Matthew Yanez 11:34.14 4 x 1

5. McFarland Grenardo Garcia 11:34.63 5 x 1

6. Highland Juan Delgado 11:37.47 6 3 1

7. Centennial Brandon Ballard 11:38.17 7 4 1

8. Ridgeview Ernesto Castillo 11:38.94 8 5 2

9. Shafter Elias Picazo 11:40.09 9 x 2

10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3

11. Wasco M. Vasquez 11:49.94 11 7 2

12. East Felix Trevino 11:51.62 12 x 2

13. Ridgeview Tree Hoisson 11:52.34 13 8 4

14. Stockdale Raymon Griggs 11:52.62 14 9 1

15. Highland Rafael Alcaraz 11:53.30 15 10 2

16. East Esteban Vargas 11:54.83 16 x 3

17. McFarland Adam Marquez 11:56.93 17 x 2

18. Frontier Corry Harris 12:02.24 18 11 1

19. Highland M. Shaffer 12:04.99 19 12 3

20. Highland Jo Dixon 12:05.53 20 13 4

21. Centennial Nick Trieberg 12:06.03 21 14 2

22. Highland Daniel Espinosa 12:07.15 22 15 5

23. Foothill Cesar Espinosa 12:10.84 23 16 1

24. Highland Ernan Lopez 12:18.78 24 17 6

25. Stockdale P. Bowen 12:25.59 25 18 2

26. Stockdale Andrew Worth 12:26.63 26 19 3

27. Foothill Jovani Pineda 12:32.47 27 20 2

28. Centennial Jake Smoot 12:33.35 28 21 3

29. Foothill Robert Guillen 12:36.97 29 22 3

30. Garces Jose Lopez 12:37.53 30 23 1

31. Highland Pablo Santiago 12:38.23 31 24 7

32. Ridgeview Ian Dowot 12:38.71 32 25 5

33. Frontier Ramon Sanchez 12:42.97 33 26 2

34. Foothill Peter Reyna 12:45.32 34 27 4

35. Ridgeview Hector Garay 12:45.76 35 28 6

36. Frontier Brian Cisneros 12:46.11 36 29 3

37. Stockdale Cornelius Sockey 12:49.24 37 30 4

38. Stockdale Nick Haley 12:49.57 38 31 5

39. Frontier Christopher Bedke 12:51.77 39 32 4

40. Frontier Chris Corral 12:52.80 40 33 5

41. Centennial CJ Carr 12:55.06 41 34 4

42. Ridgeview Arty Sanchez 12:55.60 42 35 7

43. Garces Dominic Gallegos 12:56.21 43 36 2

44. Foothill Oscar Rivera 12:57.02 44 37 5

45. Shafter Jonatan Lopez 12:59.96 45 x 3

46. Stockdale Evan Szablowsk 13:01.10 46 38 6

47. BHS Hector Sanchez 13:02.38 47 39 1

48. Foothill Guillermo Cisneros 13:05.95 48 40 6

49. Stockdale Jit Malay 13:06.90 49 41 7

50. Highland Nick Lopez 13:07.10 50 42 8

51. Centennial Craig Varner 13:15.59 51 43 5

52. Highland Tyler Dunlap 13:20.14 52 44 9

53. Stockdale Davis McLeod 13:20.73 53 45 8

54. Foothill Luis Garcia 13:22.06 54 46 7

55. Shafter Miguel Sanchez 13:23.34 55 x 4

56. Independence Curtis Valencia 13:25.34 56 47 1

57. Wasco Kyle Bearley 13:26.41 57 48 3

58. Ridgeview Martin Oropeza 13:27.08 58 49 8

59. Frontier Chris Mount 13:28.88 59 50 6

60. Wasco Anthony Ramirez 13:29.86 60 51 4

61. Frontier Jairo Garcia 13:34.10 61 52 7

62. Stockdale Kevin Chun 13:37.01 62 53 9

63. Foothill Marcos Sandoval 13:38.55 63 54 8

64. Arvin Jose Rodriguez 13:39.04 64 x 1

65. Frontier Steven Saenz 13:39.36 65 55 8

66. Stockdale John Bracamant 13:40.57 66 56 10

67. Wasco Kr. Brown 13:43.42 67 57 5

68. Stockdale Adrian Esquivas 13:45.00 68 58 11

69. Stockdale Joshua St. Clair 13:46.57 69 59 12

70. BHS Josh Harbin 13:49.65 70 60 2

71. Mira Monte Hislon Belo 13:53.35 71 x 1

72. Stockdale Eric Jorgensen 13:56.96 72 61 13

73. Garces Anthony Martinez 14:05.99 73 62 3

74. Arvin Rodger Tabada 14:15.08 74 x 2

75. Stockdale Phillip Radon 14:16.70 75 63 14

76. Stockdale Landon Medina 14:18.10 76 64 15

77. East Donald Sanchez 14:18.32 77 x 4

78. Frontier Spencer Cordova 14:25.94 78 65 9

79. Frontier Matt Walker 14:32.16 79 66 10

80. Wasco Arturo Miranda 14:32.82 80 67 6

81. Highland Luis Lopez 14:36.85 81 68 10

82. Independence Devin Lane 14:43.22 82 69 2

83. Garces Sterling Garza 14:43.64 83 70 4

84. Mira Monte Michael Pineda 14:45.10 84 x 2

85. Stockdale Joshua Le 14:45.99 85 71 16

86. Independence Michael Gallarza 14:46.50 86 72 3

87. Foothill William Saavedra 14:48.22 87 73 9

88. BHS Trevor Dalke 14:48.96 88 74 3

89. Independence Andrew Cruz 14:57.45 89 75 4

90. Highland Alex Harrell 15:01.62 90 76 11

91. BHS Wesley Elrich 15:02.07 91 77 4

92. Frontier Jason Phillips 15:02.54 92 78 11

93. Foothill Mason De La Cruz 15:03.92 93 79 10

94. Highland Estevan Espinoza 15:06.66 94 80 12

95. Mira Monte Rick Mendoza 15:08.42 95 x 3

96. Foothill AJ Lara 15:09.07 96 81 11

97. Centennial Jarod Kashwer 15:13.28 97 82 9

98. Highland Ryan Gonzalez 15:28.65 98 83 13

99. BHS Andres Eagleson 15:35.28 99 84 5

100. Frontier Kevin Sanchez 15:41.75 100 85 12

101. Centennial Brent Williams 15:46.70 101 86 10

102. Ridgeview Eric Jacques 15:46.93 102 87 9

103. Garces P. Newman 15:55.87 103 88 5

104. Foothill Jose Mejia 16:22.51 104 89 12

105. Independence Sky Payne 16:38.36 105 90 5

106. Foothill Logan Power 20:16.50 106 91 13

107. Arvin Oswaldo Leyva 24:45.86 107 x 3

108. North Sonny Medina 25:53.00 108 x 1

kern invite 08 - varsity by ralls by AndyNoise.Com

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

Varsity Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Foothill Chris Schwartz 14:59.76 1 1 1

2. McFarland Alfonso Cisneros 15:33.49 2 2 1

3. McFarland Francisco Nava 15:48.44 3 3 2

4. McFarland Marco Perez 15:48.85 4 4 3

5. Stockdale Curtis Kelly 15:50.33 5 5 1

6. Ridgeview Brian Solis 15:50.81 6 6 1

7. Wasco A. Mendoza 15:51.72 7 7 1

8. Ridgeview Alex Garcia 15:52.70 8 8 2

9. Shafter Chris Handel 15:53.96 9 9 1

10. McFarland Gerardo Alcala 15:54.28 10 10 4

11. Shafter Jesus Villalpondo 16:05.48 11 11 2

12. Highland Colin Lewis 16:06.79 12 12 1

13. Centennial Nathan Vincent 16:08.77 13 13 1

14. Ridgeview Robby Baker 16:13.01 14 14 3

15. McFarland Eduardo Bautista 16:18.69 15 15 5

16. BHS Andrew Ariey 16:21.59 16 16 1

17. Garces Connor O'Malley 16:23.32 17 17 1

18. Stockdale Blair Slaton 16:25.15 18 18 2

19. Ridgeview Jerrio Lewis 16:25.61 19 19 4

20. East Jose Ramirez 16:25.97 20 20 1

21. East Mose Valdez 16:26.30 21 21 2

22. Highland Thomas Turner 16:26.59 22 22 2

23. Golden Valley Daymon Sandles 16:26.91 23 23 1

24. Foothill Jose Lopez 16:27.22 24 24 2

25. Ridgeview Miguel Munoz 16:30.13 25 25 5

26. Wasco G. Linares 16:34.10 26 26 2

27. Shafter Josh Wittenberg 16:34.61 27 27 3

28. Highland Jake Van Zandt 16:36.62 28 28 3

29. East Charlie Zaragoza 16:39.22 29 29 3

30. BHS Andrew Edquist 16:41.12 30 30 2

31. Cesar Chavez Martin Rios 16:45.91 31 31 1

32. Highland Ivan Esquivias 16:47.91 32 32 4

33. BHS Zachary Holt 16:48.98 33 33 3

34. Stockdale Anthony Dao 16:49.30 34 34 3

35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2

36. Wasco O. Mirando 16:50.04 36 36 3

37. Shafter Alex Moreno 16:51.14 37 37 4

38. Wasco E. Sanchez 16:52.02 38 38 4

39. Wasco E. Ramirez 16:53.29 39 39 5

40. East Camilo Mosqueda 16:53.84 40 40 4

41. East Vincente Herrera 16:54.31 41 41 5

42. Foothill Erick Bautista 16:54.82 42 42 3

43. Arvin Ben Orozco 16:57.57 43 43 1

44. Shafter Hector Montoya 17:01.02 44 44 5

45. Garces Jesus Guzman 17:02.28 45 45 2

46. Garces Michael Bedard 17:02.88 46 46 3

47. Frontier Tanner Urmston 17:03.48 47 47 1

48. BHS John Purcell 17:04.08 48 48 4

49. Centennial Ty Heiter 17:04.73 49 49 2

50. Frontier Richard Peralta 17:05.73 50 50 2

51. Shafter Cristian Barrios 17:07.93 51 51 6

52. Centennial Gehrig Smith 17:08.86 52 52 3

53. BHS Christopher Anderson 17:09.32 53 53 5

54. Highland Justin Burnett 17:10.77 54 54 5

55. Wasco J. DeJulian 17:11.97 55 55 6

56. Stockdale Stephen Burke 17:16.30 56 56 4

57. Arvin Juan Calderon 17:16.89 57 57 2

58. Wasco Cesar Patino 17:19.39 58 58 7

59. Cesar Chavez Tim Yanez 17:21.10 59 59 3

60. Highland Ariel Hurtado 17:23.69 60 60 6

61. North Adam Ralls 17:24.02 61 x 1

62. Ridgeview Michael Anseno 17:24.53 62 61 6

63. Ridgeview Jaime Madrigal 17:31.18 63 62 7

64. Foothill Patrick Manrique 17:32.75 64 63 4

65. Frontier Will Beechinor 17:33.57 65 64 3

66. East Alex Estrada 17:38.64 66 65 6

67. Burroughs Jesse Wigfield 17:38.99 67 66 1

68. Centennial Eric Millan 17:39.50 68 67 4

69. Burroughs Daniel Lathrop 17:39.91 69 68 2

70. Shafter Jacob Vasquez 17:40.47 70 69 7

71. Garces David Freed 17:40.91 71 70 4

72. Centennial Jake Howry 17:42.54 72 71 5

73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3

74. Frontier D. Sclafani 17:47.26 74 73 4

75. Stockdale Max Morales 17:48.38 75 74 5

76. Burroughs Eduardo Carrillo 17:51.64 76 75 4

77. Burroughs Keith Christman 17:57.59 77 76 5

78. Golden Valley Jose Salgado 17:59.82 78 77 2

79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4

80. Centennial Brad Hinsley 18:04.58 80 79 6

81. Arvin Yessuri Villsenor 18:05.30 81 80 3

82. Burroughs Nathan Cheadle 18:10.33 82 81 6

83. Foothill Javier Garcia 18:11.22 83 82 5

84. Foothill Ernest Marquez 18:11.57 84 83 6

85. BC Kevin Yarian 18:27.47 85 84 1

86. North Chris Emmett 18:29.51 86 x 2

87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5

88. Tehachapi Corey Torres 18:32.16 88 86 1

89. Frontier Michael Sclafani 18:33.62 89 87 5

90. Garces Patrick Gomez 18:37.52 90 88 5

91. Highland Humberto Ramirez 18:37.98 91 89 7

92. Golden Valley David Gamino 18:40.22 92 90 3

93. Frontier Ricky Gonzales 19:03.13 93 91 6

94. Garces Chris Real 19:06.29 94 92 6

95. Stockdale D. Sherrill 19:08.29 95 93 6

96. Garces Dillon Lyles 19:16.75 96 94 7

97. Tehachapi Christian Torres 19:19.03 97 95 2

98. BC Mark McCutcheon 19:20:78 98 96 2

99. Golden Valley Nick Cruz 19:22.49 99 97 4

100. Golden Valley Daniel Perez 19:25.13 100 98 5

101. Foothill Christian Paredes 19:32.03 101 99 7

102. Arvin Adrian Rodriguez 19:32.67 102 100 4

103. BC Thomas Beard 19:59.04 103 101 3

104. West Michael Branquino 19:59.63 104 x 1

105. BHS Nick Flores 20:04.27 105 102 6

106. Tehachapi Logan Collier 20:07.47 106 103 3

107. Kern Valley C. Woodward 20:22.63 107 x 1

108. Arvin Christian Guerrero 20:31.41 108 104 5

109. Burroughs Daniel Meade 20:41.26 109 105 7

110. Golden Valley Ryan Davis 20:41.26 110 106 6

111. BHS Robby Harris 20:42.01 111 107 7

112. East Hector Fuentes 20:42.57 112 108 7

113. Frontier Alex Blanton 20:56.97 113 109 7

114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6

115. Tehachapi Trent Sherman 21:02.94 115 111 4

116. Tehachapi Shaddi Haddad 21:18.14 116 112 5

117. BC Austin Adee 21:25.45 117 113 4

118. BC Aaron Stephens 21:31.77 118 114 5

119. Kern Valley J. Pistocco 23:15.37 119 x 2

120. Tehachapi Corey Hebron 23:19.78 120 115 6

121. West Kevin Serrano 23:48.05 121 x 2

"Souvenir" [18/366] by Miguel Durán

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· 366project2012 Blog.

German Chaplain, Eastern Front 1944 by Chris Wilson

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Our site 21infantry.co.uk/

21infantry.co.uk/pionere.html

21infantry.co.uk/equipment.html

21infantry.co.uk/Media.html

Facebook www.facebook.com/21infanterie/

Twitter twitter.com/21st_Infantry?ref_src=twsrc%5Etfw&ref_url...

The 21.Infanterie Division Living History Society, a non-profit living history society located in the UK. We are a collection of WWII historians and German vehicle enthusiasts that endeavour to keep the memories, sights, sounds, and smells of the late war 1944-1945 period alive.

Along with military historians and WW2 hobbyists, we also have within the society a collection of German wartime vehicle enthusiasts who are extremely active in various restoration projects throughout the year

The 21st Infantry Division is a WW2 living history Society was established 2014. Although We are nationally based group with experienced reenactors from all over the UK we are fortunate to have a home which is The Lincolnsfields Forties experience Museum,Bushey, Hertfordshire, a unique, hands on, WW2 living history attraction located at the site of the WW2 operational HQ of the USAAF 8th Fighter Command.

We are collectors and enthusiasts who provide authoritative and professional living-history displays for the public, as well as recreation battlefield scenarios and overnight tactical events for all members.

What we do? We are an extremely busy group which is active all year round. We aim to hold at least one event per month for members to get together such as below..

Film & TV Walk Ons

WW2 Film & TV Vehicles (action Vehicles)

Film & TV Extras

Professional photography

Public WW2 Events

WW2 prop construction

Period vehicle restoration

WW2 Airsoft events

Private Battle Weekends

Bushey Hall 1940's Museum open days (Monthly)

Our members therefore wear historically accurate uniforms, operate authentic or original vehicles,weaponry and equipment, and research the “day-to-day” life of the German Soldier on the eastern front - so as to correctly inform the audience.

The group is experienced in providing a professional body of extras for film and television.We aim to provide projects with a body of men complete with 100% realistic uniforms, weapons,equipment, vehicles and more importantly mindset.

זוג גבר אישה מתנשקים עיצובי דירות מקוריות חדשניות מינימליסטיות יפות מיוחדות בקומפוזיציה עמוסה רפי פרץ צייר by assaf henigsberg

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רישום בצבע אדום גברים נשים מתנשקים אוהבים ציורים רומנטיים יוצרים אווירה ואנרגיה טובה בבית

ראו בקישור מספר ציורים אורגינאלים והדפסים ענקיים שישנם והם למכירה בסטודיו

naiveartprints.blogspot.com/2021/11/blog-post.html

רפי פרץ

סטודיו רחוב התחייה 22 תל אביב

טלפון 0525543715

אימייל rafi@art4collector.com

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.ציורים עיצוב הבית סגנונות עיצובי פנים סגנון מודרני יוקרתי הום סטיילינג מעצבי הפנים העיצוב הישראלי המודרני היוקרתי תמונות לעיצוב הבית ציורים לסלון לחדר שינה למטבח לשירותים ציור בסלון בחדר השינה במטבח בשרותים אמנות ישראלית בבית אומנות הישראלית בבתים מעצבים לך את היצירה בדירה צירה חדשנית מקורית דירות חדשניות מקוריות יוקרתיות תמונות מותאמות לספה למיטה רעיונות בתכנון הסלון המטבח סלון משרד מטבח משרדים סלונים ספות יפות צבעוניות טקסטורות טיפ והדרכה בתיכנון צבע לקיר צבעים לקירות קיר בהיר קירות בהירים משטח ככה משטחים כהים חלל מינימליסטי חללים מינימליסטיים צבעים לבן שחור אדום כתום כחול תכלת סגול צהוב ירוק בצבעים לבנים שחורים אדומים כתומים כחולים סגולים צהובים ירוקים באדום בכתום בצהוב בירוק בכחול בסגול בשחור בלבן מדרגות מרחפות מדרגה מרחבת חדרי ילדים מבוגרים הורים תינוקות דקורציה של הבתים הום דקור תל אביב חיפה ירושלים באר שבע חולון בת יום ראשון לציור אשדוד גבעתיים רמת גן פתח תקווה הרצליה נתינה חיפוי לקיר חיפויים לקירות בריקים הקיר הלבן סגנונות של דירות כפרי עמוס דקורטיבי כפריים חלל גדול קטן חללים גדולים קטנים ארונות שידות ארון דישה שולחן שולחנות כיסא כיסאות חלון חלונות מנורה מנורות אביזר אביזרים לבית פרטי לבתים פרטיים גינה גינות בחוץ בפנים חוץ פנים חרב תחושה מרחב מרחבים צרו קשר צור קשרים בקישור הבא ליצירה הקשר המעצב הפרטים העיצוב הפרטי אישי אינטימי רומנטי אווירה רומנטית אווירה נקייה רפי פרץ צייר ישראלי אמן עכשווי מודרני ציירים ישראלים אמנים ישראליים אומנים עכשוויים מודרניים יוצרים חדשניים מקוריים אומנות ישראלית עכשווית מודרנית חדשנית מקורית אמן ישראלי עכשווי מודרני חדשני מקורי יוצר יצירות ישראליות עכשוויות מודרניות מקוריות חדשניות התמונה היפה התמונות היפות הציור המיוחד הציורים המיוחדים הצייר הישראלי העכשווי המודרני הישראלי האמן החדשני המקורי האמנים הישראליים העכשוויים המודרניים המקוריים החדשניים המעצבים

raphael perez painter artist Paintings Home Design Styles Interior Design Upscale Modern Style Home Styling Interior Designers Upscale Modern Israeli Design Home Decor Paintings For Living Room For Bedroom Kitchen For Toilet Painting For Living Room In The Bedroom In The Kitchen Israeli Art At Home Israeli Art In Homes Design Your Work In The Apartment Original Innovative Art Original Luxury Tailor-made pictures Bed design ideas Kitchen living room Living room Office kitchen Offices Living rooms Beautiful sofas Colorful textures Tip and guidance in color planning Wall colors Wall walls Light walls Light surface Dark surfaces Minimalist spaces Minimalist colors White black red orange Blue light blue Purple Yellow yellow Black white Oranges Blue Purple Yellow Green In Red In Orange In Yellow In Blue In Purple In Black In White Floating Stairs Staircase Room Adult Children Rooms Parents Babies Home Decor Home Decoration Tel Aviv Haifa Jerusalem Beer Sheva Holon Sunday Painting Ashdod Givatayim Ramat Gan Petah Tikva Herzliya Giving Wall Cladding White wall bricks styles of rustic apartments laden with decorative rustic large space small spaces c Small dolls Chests of drawers Wardrobe Closet table Tables Chairs Window windows Lamp Lamps Accessories Home appliances Private homes Garden Gardens Outside interior Exterior Interior Sense Space Spaces Contact us Contact us at the following link Contact designer Private private intimate Romantic atmosphere Clean atmosphere Rafi Peretz Israeli painter modern contemporary artist Israeli painters Israeli artists modern contemporary artists original innovative artists original contemporary modern Israeli art original innovative modern contemporary Israeli artist creates original contemporary contemporary Israeli works The beautiful pictures The beautiful Israeli modern special paintings The unique Israeli paintings Original Contemporary Israeli Artists The original innovative innovative designers

Standing Desk Right and Back by Daniel Solis

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danielsolisblog.blogspot.com/2012/05/my-standing-desk.html

I've been tinkering with my standing desk for the better part of a year. I started with some jury-rigged wire shelving, small IKEA endtables and even my computer tower itself. All this on top of my normal sit-down desk.

Standing desks can be pretty expensive, so I was hesitant to go that far in my quest for the ideal standing/working situation. I didn't want to drop a few hundred bucks on a standing desk that wasn't even the right spec for my needs.

It took a long time to figure out my ideal viewing height, the right height for my arms while typing, and the right height for designing. When I moved to the North Carolina office, I quickly discovered the discomfort of standing on concrete. That's when I got a set of basic floor mats available from most hardware stores.

That's how it was for months. I was content with my unsightly mish-mash. Then Mego found these quite nice Closetmaid modular wooden shelving units. I tried one for my keyboard and mouse. To my pleasant surprise, I had way more room than I had with my hodgepodge setup. Plenty of room for an ergonomic keyboard and mouse somewhere down the line.

My wife got two more units so I could prop up my monitors. Now I'm not so embarrassed about my desk configuration. It actually looks like a proper single-unit. It doesn't wobble precariously like my DIY setup. Plus, I have tons of little cubby space right at arm's reach.

北海道｜Hokkaido by 里卡豆 Ricardo

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SHIBUYA SKY拍攝地點

FaceBook｜Blogger ｜Instagram ｜500PX

You can licence images through My Getty image

All of My Reviews｜心得文：

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

Panasonic LEICA DG 8-18mm f/2.8-4 Review

A Five-Year Photographic Journey with the M4/3 Series.

3D, San Francisco - California Street Cable Railway - Cable Car #21 in Travel Town, Griffith Park, Los Angeles, CA dsc00018, 2009.07.19 15:52 by Reverend Doctor Wizard ďIsney

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[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

CABLE CAR.

One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.

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San Fransisco Municipal Railway #21

[A 55.04.04]

Just as it had a subway long ago - Los Angeles of the past boasted cable cars.

The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.

Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.

Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.

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This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.

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This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.

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BUILT: C. 1880.

LENGTH: 30'.

GAUGE: 3' 6".

PERMANENT LOAN: CITY OF SAN FRANCISCO.

==========.

This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Henry's Auto Livery and drive Tin Lizzie's, from the barn at the North-West corner of Beach Bl. and Crescent.

On the cars in service today, there is a metal plate protecting the front of this truck assembly from debris which could damage running gear and brakes. The hole in the center of that plate must be to access the nut shown here in the center, to tighten the brake bar.

dsc00018, 2009:07:19 15:52:24, 3D, R, Los Angeles, Griffith Park, Travel Town, Cable Car, San Francisco Municipal Railway #21

Power Advantage Mod 1.8 by Minecraft World

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Source freedownloadminecraft.com/power-advantage-mod.html

Key West, Feb 2012 - 32 by Ed Yourdon

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My best sunset photo of the entire week...

Note: this photo was published in a May 14, 2012 Watches Wiki blog, with the same caption and detailed notes that I had written here on this Flickr page. It was also published in an Oct 26, 2012 blog titled "Cayo Hueso."

Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking <a href="Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking here.

***********************************************

Key West. It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, Key West.

It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, proximity to Cuba, Jimmy Buffett’s “Margaritaville,” and perhaps a few vague connections to Ernest Hemingway and Tennessee Williams. It is indeed the southernmost city in the continental United States (129 miles southwest of Miami), and is also the southernmost terminus of highway U.S. 1, which originates a couple thousand miles north, up in Maine.

Less well known is the fact that the island was first visited by Europeans in 1521, by none other than Ponce de Leon. Much, much earlier, the island had previously been inhabited by members of the Calusa tribe, who apparently used the island as a communal graveyard. Thus, when the Spanish arrived, they found no resident Native Americans, but they did find a lot of bones; and assuming that the island had been the location of a cataclysmic batter between tribal warriors, they named it “Cayo Hueso” -- which literally means “bone key.” When Great Britain took control of Florida in 1763, they bastardized the name to “Key West,” which has obviously remained its name ever since.

I’ll skip the rest of the history lessons about Spanish and British domination of the island; suffice it to say that the Americans took charge in 1822, when Lt. Commander Matthew Perry sailed his schooner to Key West and claimed all of the Keys as U.S. property – a claim that apparently went uncontested. The Navy has been here ever since, and its first major task was ending acts of piracy which had previously made much of that part of the Caribbean a wild and wooly place indeed.

During the U.S. Civil War, the state of Florida seceded and joined the Confederacy; but because of the naval base, Key West remained in Union hands. Indeed, Key West served as the starting point for what became a relatively successful effort to blockade Confederate shipping along the Atlantic and Gulf coasts, severely limiting its ability to trade with England and Europe.

Key West remained relatively isolated from the rest of Florida (not to mention the rest of the U.S.) until 1912, when it was connected to the Florida mainland via an incredibly expensive and ambitious railroad developed by Henry Flagler. Unfortunately, a massive Labor Day hurricane in 1935 destroyed much of the railroad and killed hundreds of local residents. The U.S. government subsequently rebuilt the rail route as an automobile extension of U.S. Highway 1, which was completed in 1938.

While all of this was going on, Key West also became a haven for at least a few famous artists and writers. Ernest Hemingway initially settled in Key West in 1928, where he wrote A Farewell to Arms. And during the 1930s, he wrote or worked on Death in the Afternoon, For Whom the Bell Tolls, and The Snows of Kilimanjaro. He also used the Depression-era Key West as the setting for To Have and Have Not, which is apparently his only novel set in the United States.

A decade later, Tennessee Williams became a regular visitor to Key West, and is said to have written the first draft of A Streetcar Named Desire while staying at La Concha Hotel in 1947; he continued to list Key West as his primary residence until his death in 1983.

One other small piece of history: Key West turns out to be much closer to Havana than it is to Miami. In the 1890s, half the residents of Key West were said to be of Cuban origin, and the city regularly had Cuban mayors. Cubans were actively involved in roughly 200 factories in the city, producing 100 million cigars annually. And the South American revolutionary hero José Martí made several visits seeking recruits for Cuban independence, and he founded the Cuban Revolutionary Party during visits to Key West. The battleship USS Maine sailed from Key West on its visit to Havana, where it was blown up in an attack that led to the Spanish-American War. And finally, Pan American Airlines was founded in Key West in 1926, originally to fly visitors to Havana.

And thus endeth our short history lesson – none of which was of any particular significance to me during a recent week-long visit to Key West, motivated by a strong desire to escape the cold weather of New York City during the month of February. One other tidbit of trivia had attracted me: I had heard that there was a pier in Key West where the locals and visiting tourists gathered every evening to drink margaritas, sing raucous renditions of “Margaritaville” at the top of their lungs, and admire the sunsets as the sun sank into the western horizon of the Gulf of Mexico.

That pier, as it turns out, is Sunset Pier – and it was located just outside the hotel which I had chosen as the place to stay for the week. And while it turns out that margaritas are indeed consumed there, so are a lot of piña coladas, mojitos, and beers, along with hamburgers, hot dogs and fries: the whole place is a long, crowded, outdoor bar and grill. The raucous singing comes from an amped-up band at one end of the pier, and I’m not sure that anyone actually pays any attention to the sunset.

The sunset-watching, it turns out, is a little further down the pier: a large, open, brick-paved place known as Mallory Square fronts onto the harbor, and an even larger crowd does gather every night to watch the sun go down … as you’ll see in several of the photos in this Flickr set. There is also an amazing assortment of “performers,” for lack of a better name: wise-talking card-sharks; down-and-out guitar-playing musicians; a preacher determined to save the souls of anyone who would listen to him; tightrope walkers, sword-swallowers, and gymnasts; jugglers with machetes and flaming torches, tossed in the air with great abandon while the jugglers balance on 20-foot unicycles; and a guy with a banjo and a loyal dog who wanders around gathering dollar-bill contributions from the crowd, to be stuffed into a large bucket.

Meanwhile, schooners and catamarans drift past the crowd, out in the harbor, crammed with half-drunken tourists determined to get everyone’s attention by howling and yodeling at the top of their lungs. Ocean liners pull into the harbor at the end of Mallory Square, drop anchor and dock in the middle of the night, and then make a huge noisy ceremony of pulling up the gangplank and pulling away from the dock at 5 PM, just an hour before sunset.

Somehow, it all works: if you haven’t seen the scene before, it’s highly entertaining -- and the sunsets are truly fantastic. Of course, if you go back a second time, you’ll start to notice that the same performers are there, going through the same routine with the same patter and speech -- and you start paying less attention to them, and a little more attention to the more traditional vendors lined up a few feet away from the edge of the pier: people selling hot dogs, popcorn, conch fritters, drinks (alcoholic and non-alcoholic), photographs, trinkets, jewelry, paintings, drawings, tarot readings and spiritual advice, and various odds and ends carved and woven and hand-made from bits and pieces of wood, metal, and palm fronds.

By the third or fourth night, the whole thing is completely repetitive – but the sunsets are still gorgeous. In my case, I escaped the Mallory Square scene a couple evenings to go for a sunset cruise on one of the many schooner docked in the neighborhood; I also went out for a ride in a glass-bottom boat to see the local coral reefs. But I passed up the opportunity to para-sail up in the sky above the whole scene, and I also decided to skip the opportunity to rent a jet-ski that would let me zoom around the harbor at breakneck speeds.

If you’re feeling energetic, you can also wander down Duval Street to see the gift shops, the tourist attractions, and the bars (e.g., Sloppy Joe’s, where Hemingway allegedly hung out. You can ride the little tourist “conch train” all around town, which gives you the chance to see every famous historic home and tourist spot in a little over an hour. I’ll confess that I did that, too, though it was so bumpy that I was only able to take one or two photographs …

I did have my camera with me throughout the week, of course, so I took my typical assortment of hundreds (maybe even thousands) of random pictures of anything that seemed interesting. I’m getting better about deleting things, though, so I’ve ended up with a mere 35 photos that I’m uploading to Flickr; hopefully you’ll find them moderately interesting…

SS Mt. Vernon, Mount, Wilson Line by photolibrarian

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From www.washingtonpost.com/wp-dyn/content/article/2010/12/03/...

The S.S. Mount Vernon was a 201-foot steamer that for nearly 25 years sailed between Washington and Mount Vernon, with a stop at Marshall Hall, an amusement park across the river from George and Martha's plantation.

The ship, originally called the City of Camden, was built in 1916 in Wilmington, Del., and started life plying the waters between there and Philadelphia. In 1940, refurbished and rechristened the Mount Vernon, it started serving Washington. Twice a day it left the Wilson Line pier at Maine Avenue and Fourth Street SW. An evening moonlight cruise featured dancing to live music on a dance floor that could accommodate 1,000. (In the 1950s, local promoter Connie Gay hosted "Hillbilly Cruises" aboard the Mount Vernon. The featured entertainment on March 23, 1956? Elvis Presley, in his first District appearance.)

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The ship was a fixture on the Potomac, mentioned in every tourist guide of the city. (Every guide for white tourists, anyway. In 1961, students at George Washington University voted to discontinue their annual "Colonial Cruise" aboard the Mount Vernon to Marshall Hall because the amusement park did not allow blacks.)

On Jan. 5, 1963, as it sat at the Wilson Line pier, the main seacock aboard the vessel froze and broke. River water flooded in - some 1.76 million gallons, it was later estimated - and the Mount Vernon settled on the bottom, only two of its four decks visible.

It sat there until June, when a temporary secondary hull was built up around the submerged lower deck, 16 pumps were installed, and the water was pumped out. It was towed to Marshall Hall, then, a few months later, to Smoot Bay, where the Gaylord National is now.

It was again flooded with water, this time intentionally, as a way of keeping it in one place without anchors. "If I don't sell her pretty soon," Wilson Line President Joseph Goldstein said in 1965, "I'm going to make a barge of her."

It was during this period in its life that the Mount Vernon was what lawyers call an attractive nuisance. One reader remembers paddling out to the ship on rafts made from doors scavenged from construction sites before being scared off by the rats that had moved in.

In 1967, the Seafarers International Union bought the ship for $45,000 to use as a floating schoolhouse at its Piney Point, Md., academy. It was rechristened the Charles S. Zimmerman, after a leader of the International Ladies Garment Workers Union.

The school sold the ship in the 1980s. After that, the trail goes cold. Entrepreneurs thought of turning it into a floating eatery. It may have gone to restaurateurs in Yonkers, N.Y., before sinking in Brooklyn Navy Yard, though some believe it was bought by Boston restaurateurs before sinking in Boston Harbor. Either way, it was an ignominious end for the pride of the Potomac.

Hino da igreja by Li Philipe

2

Hino da igreja

Seguir o Cordeiro e cantar cânticos novos

e louve a vinda do reino de Deus ao mundo!

melhor música gospel 2018

pt.godfootsteps.org/videos/follow-God-along-rough-path-mv...

F.OWL by milena inaka

4 1

milenainaka.blogspot.com/2014/04/024.html

BRUNO PREMIANI

Doom Patrol 93

Bruno Premiani was the first and main artist on DC's 'Doom Patrol' series. This series, about a trio with special abilities (Elasti-Girl, Negative-Man and Robotman), led by a man in a wheelchair, has a striking resemblance to Marvel's 'X-Men' series. However, 'Doom Patrol' debuted June 1963 and 'X-Men' three months later. Before doing 'Doom Patrol', Bruno Premiani made a rare appearance inking 'The Rip Van Winkle of Smallville' in 1955. In 1964, Premiani was also the artist on 'Kid Flash, Aqualad and Robin', a spin off with Batman's sidekick Robin, Aquaman's sidekick Aqualad and a younger version of the Flash.

Bruno Premiani (1924-1984?) was an illustrator known for his work for several comic book publishers, particularly DC Comics.

Born in Trieste, Italy in 1924, Premiani achieved some fame for his comics illustration work, most notably the original incarnations of the Doom Patrol in 1963 and the Teen Titans in 1964, both series being cult favourites that have survived in one form or another since their original creation for the DC Comics universe. He is also cited as the original artist for the first adventures of Cave Carson, a spelunker/geologist and adventurer also part of DC's fictional pantheon since 1960, and is among the first published Tomahawk artists. His work in the field dates as far back as 1937 in the pages of Detective Comics.

He is believed to have died in Argentina in 1984.

"http://en.wikipedia.org/wiki/Bruno_Premiani"

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

Bruno Premiani

(4/1/1907 - 17/8/1984, Italy)

Bruno Premiani was an Italian Anti-fascist with a passion for history, who became a successful comic book artist in Argentina and the United States. Born in Trieste in the Austro-Hungarian empire as the son of a Slovenian Imperial Railway employee and an Italian mother, Giordano Bruno Premiani has lived in Argentina for most of his life. Most American sources list his birth year as 1924, but Italian police records mention 4 January 1907. From 1921 to 1925, Premiani studied at the high school of arts and crafts in Trieste, which was a part of Italy by now.

Not happy with the fascism that had taken over Italy, Premiano took the boat to Argentina in 1930. There, he began drawing for the Agencia Wisner advertising shop and the daily newspaper Crítica. For this newspaper, he did the educational comic section 'Seen and Heard' which ran from 1932 to 1940. In the meantime, the Italian government kept track of Premiani's anti-fascist activities for the Crítica daily, and stated that Premiani was to be arrested when he got back to Italy. Premiani only returned to Italy once, to bury his mother in the early 1950s.

During the 1940s, Premiani continued to work as an illustrator for Argentine magazines, such as Billiken and Léoplan. From 1947, Premiani illustrated a great number of comic adaptations of literary classics in the 'Patoruzito Classics' series, which appeared in Dante Quinterno's Patoruzito magazine.

Between 1948 and 1952, Premiani lived in the United States, where he began a longtime collaboration with National/DC Comics. He started out working with the historical 'Tomahawk' character and 'Pow-Wow Smith Indian Detective' for Detective Comics. He also worked at Joe Simon and Jack Kirby's Crestwood studios, and made comic biographies of US histocial figures for the State Department. In 1960, Premiani returned to live in the States once again. Around this time, he had already contributed to Gilberton's Classics Illustrated series, and also worked as an inker for Jack Kirby and Stan Drake and on Curt Swan's 'The Rip Van Winkle of Smallville'.

remiani's best known work for National/DC was the creation of 'Doom Patrol' with Arnold Drake in 1963. This series, about a trio with special abilities (Elasti-Girl, Negative-Man and Robotman), led by a man in a wheelchair, has a striking resemblance to Marvel's 'X-Men' series. However, 'Doom Patrol' debuted June 1963 and 'X-Men' three months later. Until 1968, Premiani drew most of the 'Doom Patrol' stories in My Greatest Adventures and later the eponymous comic book.

In addition, he did the cover and interior art for DC's 'Brave & Bold' series, starring Cave Carson. In 1964, Premiani was the artist on 'Kid Flash, Aqualad and Robin', a spin-off with Batman's sidekick Robin, Aquaman's sidekick Aqualad and a younger version of the Flash. He eventually returned to Argentina, where he died in 1984.

lambiek.net/artists/p/premiani_bruno.htm

ULTRACONTEMPORARY ART . today is today 12/sept 2013 by Thierry Geoffroy / Colonel : Artist

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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile

www.emergencyrooms.org/biennalist.html

Meanwhile Thierry Geoffroy is in Copenhagen the work about todays as today

an attempt to be ULTRACONTEMPORARY continues at the gallery Marianne Friis on the WARM UP Wall established for this occasion since 6sept 2013