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Fue una de las primeras blogueras nacionales. Es una de las diez tuiteras más influyentes. Se autodenominó una red social. Es una celebridad nacida, criada y existente sólo en el mundo 2.0. ¿Quién es Paloma Baytelman, y cómo hizo todo esto?

Por Isabel Plant, fotos Sergio López

Lo de Soledad Onetto se entiende. Primero, porque es rubia, muy rubia, en este país de pasiones blondas. Y segundo, es -era- de la tele y del Festival de Viña; una de las personas más reconocibles de Chile. Por eso se entiende que entre los tuiteros con más seguidores en Chile esté ella siempre bien puntera, y que en el ránking de influyentes publicado hace unos meses por El Mercurio, hecho por PeerIndex, la ex conductora de Teletrece sea la primera.

Bajo Onetto había una decena de hombres. Pero, en la posición diez, venía una mujer que para los habitantes del mundo digital es nombre conocido, pero para los análogos es desconocida: @paloma. En el ránking no era sólo la única mujer en el top 10 junto a Onetto. Estaba un lugar más arriba que Consuelo Saavedra.

Paloma no sale en la televisión abierta, ni escribe en un medio masivo, ni nada por el estilo. Es una famosa de Twitter y de blogs, hecha y derecha. Quizás la más, en esta larga y angosta faja de tierra y la nube digital que la envuelve.

¿Quién es Paloma? ¿Y cómo llegó a ser una celebridad digital?

PALOMA. A SECAS.

No es que Paloma sea sólo Paloma, como Cher o Madonna. Paloma es Paloma Baytelman, 34 años, periodista, divorciada. Hoy trabaja en Corfo, haciéndose cargo del área web y medios digitales. Antes, trabajó editando un sitio web médico y, entre medio, en el área de innovación de la Biblioteca del Congreso.

Antes de eso estudió Derecho, pero no le gustó. Y antes de eso fue a dos colegios, y antes de eso nació en una familia de padres arquitectos: Gaad Baytelman, quien hoy se dedica a efectos especiales y de cámara para cine y televisión, y Myriam Pilowsky, quien se ha desempeñado en su carrera y en la administración pública. Paloma es la mayor de cinco hermanos. Y, cuenta mientras revuelve una ensalada sentada en un café del barrio Lastarria, a unas cuadras de donde vive, no era la más tecnológica de la casa.

-Mi hermano Felipe es como genio de temas de computación, tiene una empresa llamada Baytex. Siempre hubo computador en mi casa, pero yo era como inepta en el tema. Como mi hermano estaba en el computador todo el día, yo era buena para trasnochar y hacía las tareas de la universidad de noche. Tenía que ir donde Felipe y decirle, “Despierta, ¿cómo se pone negrita?” -dice riendo.

Lo de la tecnología partió en realidad como un amor por internet, cuando entró a estudiar periodismo en la Universidad Diego Portales en 1996, cuando el periodismo se olvidaba finalmente de la máquina de escribir para comenzar una relación estable con lo digital. Nacían los primeros mails, Paloma se hizo uno altiro (hotmail, obvio), y pasaba horas navegando. Empezó a escribir: siempre le había gustado contar historias, y con esto del mail comenzó a mandarles entregas de lo que le pasaba en el día a sus amigos.

Eso hizo por años. Hasta que pasado el nuevo milenio, su hermano cursaba una beca en Tokio y le mandó el link de un sitio web propio. Fue así como Paloma conoció lo que era un blog. Y abrió “Con los ojos en la calle”, convirtiéndose en una de las primeras blogueras nacionales. Hablaba de su barrio, de la micro, de las actividades culturales a las que iba.

En ese entonces trabajaba en el sitio web médico, haciendo entrevistas y reportajes y aprendiendo del mundo virtual, así que el blog le servía para “soltar la mano”, dice. Se propuso escribir una vez a la semana, lo que cumplió por los siguientes cinco años. Y, más importante aún, cambió el dominio de su blog a Paloma.cl. Comenzó el camino a convertirse en marca registrada.

-Muy tempranamente me contacté con Roberto Arancibia, que es como el padre de los blogueros chilenos. Él me transmitió algo que usaba a destajo, lo que a alguna gente le cae súper mal: para ser un verdadero bloguero es súper importante formar redes y para eso hay que contar lo que uno hace y no tener miedo a la autopromoción.

LA RED SOCIAL

Paloma fue adquiriendo notoriedad en el mundo web. Era porque estaba en todas, y había llegado primero. Estudió cada tecnología 2.0 que salía: aparecían los podcast y probaba grabar uno. Aparecía Flickr y compartía fotos con gente de todo el mundo. Aprendió de Wikipedia. De Facebook. Conoció los streaming en su primera versión. Comenzó a hacer pequeños videos que subía a su blog y los llamó “Paloma TV”, su propio canal web.

Los videos de Paloma TV son variados en temática y profesionalismo: ella en su peluquería de barrio, ella con amigos comiendo en la Fuente Alemana, ella yendo a votar a las elecciones presidenciales, ella preguntándole a su papá por qué le puso Paloma. O, a medida que ha agarrado nombre y expertise, ella entrevistando al creador de Wikipedia, Jimmy Wales, o otros gurús del mundo web como Clay Shirky o Howard Rheingold. A todos les da la bienvenida: “Welcome to my show”.

Y, por supuesto, en abril de 2007, se metió a Twitter, red social que no explotaba aún en popularidad, consiguiendo el nombre @paloma. En la pequeña biografía que acompaña su cuenta puso algo así como que era periodista, que le encantaba mirar las cosas que pasaban en la calle. Y puso: “Soy una red social”. Esa autoproclamación no cayó bien en el mundo 2.0, un terreno que también es fértil para el bullying virtual.

- Como no todos comparten mi sentido del humor, alguna gente era agresiva. Dije bueno ya, lo voy a sacar. Después de un tiempo caché que era como una marca registrada, y lo puse de nuevo. Después mi cuenta creció exponencialmente, y ahí vino mucha gente muy pesada. Al final ¿sabes qué?, para evitarme contar el cuento y decir que es broma, lo saqué.

Su cuenta de Twitter creció rápidamente porque el sitio web de tecnología Alt1040 hizo una lista de los 100 twitteros para seguir en español, y la puso en el número 10 de la nómina. Se llenó de seguidores. Tiene 58 mil 600 aproximadamente.

Hoy Paloma ha hecho consultorías y charlas sobre el mundo digital y redes sociales, va a los eventos web que se hagan en Chile y en el extranjero, y cuenta que apenas aparece un nuevo programa, sitio web, lo que sea, inmediatamente se pone en contacto con los creadores. Su blog, y su twitter, fueron mutando entonces de comentarios cotidianos a información sobre tecnología.

Paloma dice que es un poco “pulga en la oreja”; va y le escribe a los de Twitter que algo en el sitio no funciona, o que puede funcionar mejor de otra manera. Va a eventos web y arrasa con todos a su paso hasta llegar al invitado top.

Y aunque a muchos les choque que salga corriendo tras la gente que admira, y que se considere un medio de comunicación tan relevante como cualquier otro, es así como Paloma Baytelman logra lo que quiere: ha estado en Google, se ha reunido en MIT con los profesores del Media Lab, ha gestionado todo. Paloma es la personificación de lo que los gringos llaman “Networking”: si le interesa conocer a alguien, va y lo hace, y después guarda el contacto, y se presenta y después va y le presenta ese contacto a otra persona.

-Más que Red Social, si lo dices concretamente, soy como un nodo dentro de una red. Conozco y conecto y me encanta conectar a gente que sé puede hacer cosas bacanes juntas.

INFLUYENTEMENTE HABLANDO

-¿No te da vértigo twittear cuando tienes tantos seguidores?

-Tengo como pesadillas de que twitteo algo muy personal -dice riéndose- o la típica pesadilla del twittero de que mandaste algo subido de tono o un mensaje personal a un amigo, y que te equivocaste de botón y se lo mandaste a todo el mundo.

Aunque aparece en listados y ránkings, aunque le pasen cosas como que el gobierno de Estados Unidos la seleccione junto a otros treinta periodistas del mundo para ir a Washington a conversar de Nuevos Medios a la Casa Blanca, Paloma dice que no es influyente.

-No creo en las listas. Creo que hay gente con menos seguidores que logra más movimiento de comunidad, mis lectores son más pasivos. Influyente para mí es alguien que sabe mucho de contingencia política y logra mover votos, o una eminencia en temas de salud o sabe mucho de literatura. Yo comunico mi día a día, cosas súper cotidianas, a lo más un par de personas van a un restaurante que recomendé o me contestan cosas como cómo picar zapallo o si hay mucho taco.

Lo que sí es Paloma, es ser una estudiosa del mundo 2.0. Eso hace que sepa usar Twitter como herramienta, como plataforma de lanzamiento de sí misma, en vez de como la usan la mayoría de los mortales: para pasar el rato. Paloma sabía antes de meterse a Twitter que no bastaba con poner “estoy lavándome los dientes”, sino que darle valor agregado.

Pero su enorme cantidad de seguidores y su presencia web no deja de sorprender, porque Paloma no comparte nada del otro mundo; cuando no twittea links sobre el mundo 2.0, comenta cosas como tantos otros:

Twittea: “Sí, me encanta los postres” (con una foto de un postre que estaba comiendo).

Twittea: “Cuando cumplí 7años mi papá me regaló un estetoscopio y mis abuelos me regalaron un piano…no soy músico ni médico #reflexionestrasnochadas”.

Twittea: “Esta mañana pensé que @cuevana había muerto y que tendría que hacer una vida normal, como el resto de los mortales… pero REVIVIÓ!”.

Es una estrella web curiosa: no es de genialidades, ni ironías brillantes, sino que lo suyo es un manejo calculado de todas las bondades que ofrece internet. Paloma es Paloma porque llegó de las primeras a todo. Está en todas partes, en todas las plataformas, y las sabe usar bien.

-Si la segunda mitad del siglo XX se hablaba de que Estados Unidos era la tierra de las oportunidades, creo en realidad que ésta es la tierra de las oportunidades. Cualquier persona que tiene acceso a conectarse un rato a internet, puede comentar lo que está pasando, lo que le interesa, puede exigir como consumidor, ciudadano. Y puede proponer. Los que proponen, que se paran acá en un espíritu alegre y participativo, para los que tienen ganas de realmente generar cosas, es la tierra de las oportunidades.

Paloma aprovecha hoy la suya.

Por Isabel Plant, fotos Sergio López.

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.

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]

-----

وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィア・ビエンナーレ威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

4 1/2 inches by Nikki

Tutorial blogged: whimsy-girl.blogspot.com/2012/04/diy-soap-pouch.html

ARE BIENNALES DANGEROUS ? by BIENNALIST by Thierry Geoffroy / Colonel : Artist

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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST

www.emergencyrooms.org/biennalist.html

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

Michael Harris Chancellor IU Kokomo, Sports and membership in NAIA by Michael Harris PhD פרופ. מייקל הריס

Chancellor Michael Harris, IU Kokomo, leads the Campus to initiating sports and than membership in NAIA

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Chancellor Michael Harris IUK - On the Move

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The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:

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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.

प्रभु ने स्पष्ट रूप से भविष्यवाणी की: "देख, मैं द्वार पर खड़ा हुआ खटखटाता हूँ; यदि कोई मेरा शब्द सुनकर द्वार खोलेगा, तो मैं उसके पास भीतर आकर उसके साथ भोजन करूँगा और वह मेरे साथ" (प्रकाशितवाक्य 3:20)। ये स्पष्ट है कि जब प्रभु लौटेंगे वे अपने वचन बोलेंगे औ by इरादा

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hi.kingdomsalvation.org/gospel/the-true-meaning-of-raptur...

संदर्भ के लिए बाइबिल के पद:

"तुम भी तैयार रहो; क्योंकि जिस घड़ी तुम सोचते भी नहीं, उसी घड़ी मनुष्य का पुत्र आ जाएगा" (लूका 12:40)।

"मैं चोर के समान आता हूँ" (प्रकाशितवाक्य 16:15)।

"देख, मैं द्वार पर खड़ा हुआ खटखटाता हूँ; यदि कोई मेरा शब्द सुनकर द्वार खोलेगा, तो मैं उसके पास भीतर आकर उसके साथ भोजन करूँगा और वह मेरे साथ" (प्रकाशितवाक्य 3:20)।

"जिसके कान हों वह सुन ले कि आत्मा कलीसियाओं से क्या कहता है" (प्रकाशितवाक्य 2:7)।

"मेरी भेड़ें मेरा शब्द सुनती हैं; मैं उन्हें जानता हूँ, और वे मेरे पीछे पीछे चलती हैं" (यूहन्ना 10:27)।

परमेश्वर के अति-उत्कृष्ट वचन:

"स्वर्गारोहण" नीचे स्थानों से उँचे स्थानों पर उठाया जाना नहीं है जैसा कि लोग कल्पना करते हैं। यह एक बहुत बड़ी ग़लती है। स्वर्गारोहण मेरे द्वारा पूर्वनियत और चयनित किए जाने को संदर्भित करता है। यह उन सभी पर लक्षित है जिन्हें मैंने पूर्वनियत और चयनित किया है। जिन लोगों ने ज्येष्ठ पुत्रों की, मेरे पुत्रों की, या मेरे लोग की हैसियत प्राप्त कर ली है, वे सभी ऐसे लोग हैं जो स्वर्गारोहित किये जा चुके हैं। यह लोगों की अवधारणाओं के साथ सर्वाधिक असंगत है। जिन लोगों का भविष्य में मेरे घर में हिस्सा है वे सभी ऐसे लोग हैं जो मेरे सामने स्वर्गारोहित किये जा चुके हैं। यह पूर्णतः सत्य है, कभी भी नहीं बदलता है, और किसी के द्वारा भी अस्वीकार नहीं किया जा सकता है। यह शैतान के विरुद्ध जवाबी हमला है। जिस किसी को भी मैंने पूर्व नियत किया है वह मेरे सामने स्वर्गारोहित किया जाएगा।

"वचन देह में प्रकट होता है" से "एक सौ चौथा कथन" से

मनुष्य विश्वास करता है कि सलीब पर चढ़ने और पुनरूत्थान के बाद, यीशु सफेद बादल पर स्वर्ग में वापस चला गया, और उसने सर्वोच्च महान के दाएँ हाथ पर अपना स्थान ग्रहण किया।उसी प्रकार, मनुष्य कल्पना करता है कि यीशु फिर से सफेद बादल पर सवार होकर (यह बादल उस बादल की ओर संकेत करता है जिस पर यीशु तब सवार हुआ था जब वह स्वर्ग में वापस गया था), उन लोगों के बीच वापस आएगा जिन्होंने हज़ारों सालों से उसके लिए बहुत अधिक लालसा रखी है, और यह कि वह यहूदियों का स्वरूप और उनके कपड़े धारण करेगा। मनुष्य के सामने प्रकट होने के बाद, वह उन्हें भोजन प्रदान करेगा, और उनके लिए जीवन के जल की बौछार करवाएगा, और मनुष्य के बीच में रहेगा, अनुग्रह और प्रेम से भरपूर, जीवन्त और वास्तविक, इत्यादि। फिर भी उद्धारकर्त्ता यीशु ने ऐसा नहीं किया; उसने मनुष्य की कल्पना के विपरीत किया। वह उनके बीच में नहीं आया जिन्होंने उसकी वापसी की लालसा की थी, और वह सफेद बादल पर सवारी करते हुए सभी मनुष्यों के सामने प्रकट नहीं हुआ। वह तो पहले से ही आ चुका है, किन्तु मनुष्य उसे नहीं जानता है, और उसके आगमन से अनजान बना हुआ है। मनुष्य केवल निरुद्देश्यता से उसका इन्तज़ार कर रहा है, इस बात से अनभिज्ञ कि वह तो पहले ही सफेद बादल (वह बादल जो उसका आत्मा, उसके वचन, और उसका सम्पूर्ण स्वभाव है और स्वरूप है) पर अवरोहण कर चुका है, और वह अब उन विजेताओं के समूह के बीच में है जिसे वह अंत के दिनों के दौरान बनाएगा।

"उद्धारकर्त्ता पहले ही एक "सफेद बादल" पर सवार होकर वापस आ चुका है" से

"वह जिसके कान हो, सुन ले कि आत्मा ने कलीसियाओं से क्या कहा।" क्या तुमने अब पवित्र आत्मा के वचन सुन लिए हैं? परमेश्वर के वचन तुम्हें अचानक मिले हैं। क्या तुम उन्हें सुनते हो? अंत के दिनों में परमेश्वर वचन का कार्य करता है, और ऐसे वचन पवित्र आत्मा के वचन हैं, क्योंकि परमेश्वर पवित्र आत्मा है और देहधारी भी हो सकता है; इसलिए, पवित्र आत्मा के वचन, जैसे अतीत में बोले गए थे, आज देहधारी परमेश्वर के वचन हैं। कई विवेकहीन मनुष्य हैं जिनका मानना है कि पवित्र आत्मा के वचन मनुष्य के कान में सीधे स्वर्ग से उतर कर आने चाहिए। इस प्रकार सोचने वाला कोई भी परमेश्वर के कार्य को नहीं जानता है। वास्तव में, पवित्र आत्मा के द्वारा कहे गए कथन वे ही हैं जो परमेश्वर ने देहधारी होकर कहे। पवित्र आत्मा प्रत्यक्ष रूप से मनुष्य से बात नहीं कर सकता है, और यहाँ तक कि व्यवस्था के युग में भी, यहोवा ने प्रत्यक्ष रूप से लोगों से बात नहीं की। क्या इस बात की बहुत कम सम्भावना नहीं होगी है कि वह आज के युग में भी ऐसा ही करेगा? कार्य को करने के लिए परमेश्वर को कथनों को बोलने के लिए, उसे अवश्य देहधारण करना चाहिए, अन्यथा उसका कार्य उसके उद्देश्य को पूरा नहीं कर सकता है। जो परमेश्वर के देहधारी होने को इनकार करते हैं, वे ऐसे लोग होते हैं जो आत्मा को या उन सिद्धान्तों को नहीं जानते हैं जिनके द्वारा परमेश्वर कार्य करता है। जो मानते हैं कि अब पवित्र आत्मा का युग है फिर भी उसके नए कार्य को स्वीकार नहीं करते हैं वे अस्पष्ट विश्वास में जीने वाले लोग हैं। मनुष्यों का इस प्रकार का व्यवहार कभी भी पवित्र आत्मा का कार्य प्राप्त नहीं करेगा। जो लोग चाहते हैं कि पवित्र आत्मा प्रत्यक्ष रूप से उनसे बात करे और अपना कार्य करे, फिर भी वे देहधारी परमेश्वर के वचनों या कार्य को स्वीकार नहीं करते हैं, वे कभी भी नए युग में प्रवेश या परमेश्वर से पूरी तरह से उद्धार प्राप्त नहीं कर पाएँगे।

"वह मनुष्य किस प्रकार परमेश्वर के प्रकटनों को प्राप्त कर सकता है जिसने उसे अपनी ही धारणाओं में परिभाषित किया है?" से

परमेश्वर मौन है, और हमारे सामने कभी प्रकट नहीं हुआ, फिर भी उसका काम कभी नहीं रूका है। वह सभी भूमियों पर देखता है, सभी का नियंत्रण करता है, और मनुष्य के सभी वचनों और कर्मों को देखता है। उसका प्रबंधन चरणबद्ध है और उसकी योजना के अनुसार है। यह चुपचाप, नाटकीय प्रभाव के बिना आगे बढ़ता है, मगर उसके चरण मनुष्यों के निकटतम बढ़ते रहते हैं, और उसका न्याय का आसन बिजली की रफ्तार से ब्रह्माण्ड में तैनात होता है, और उसके तुरंत बाद हमारे बीच उसके सिंहासन का अवरोहण होता है। वह कैसा आलीशान दृश्य है, कितनी भव्य और गंभीर झाँकी! कपोत के समान, गरजते हुए सिंह के समान, पवित्र आत्मा हम सब के बीच में पहुँचता है। वह बुद्धिमान है, वह धर्मी और आलीशान है, वह अधिकार से युक्त और प्रेम एवं करुणा से भरा हुआ, चुपचाप हमारे बीच में पहुँचता है। ...

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और तब भी यही वह साधारण मनुष्य है जो लोगों के बीच में छुपा हुआ है जो हमें बचाने के नये काम को कर रहा है। वह हमें कोई सफाई नहीं देता है, और न बताता है कि वह क्यों आया है। वह केवल उस काम को करता है जिसे वह चरणों में, और अपनी योजना के अनुसार, करने का इरादा रखता है। उनके वचन और कथन अब बार-बार सुनाई देते हैं। सांत्वना देने, उत्साह बढ़ाने, स्मरण कराने, चेतावनी देने, से लेकर डॉटने-फटकारने, और अनुशासित करने तक; ऐसे स्वर जो नरम और दयालु हैं से ले कर, ऐसे वचनों तक जो भयंकर और राजसी हैं—वे सब मनुष्य में तरस और कँपकँपी दोनों भरते हैं। हर बात जो वह कहते हैं हमारे अंदर गहरे छिपे रहस्यों पर सीधे चोट करती है, उसके वचन हमारे हृदयों में डंक मारते हैं, हमारी आत्माओं पर डंक मारते हैं, हमें लज्जित और अपमानित कर देते हैं। ...

हमारी जानकारी के बिना, इस महत्वहीन व्यक्ति ने, परमेश्वर के कार्य में एक के बाद एक कदम में हमारी अगुवाई की है। हम अनगिनत परीक्षाओं से गुजरते हैं, अनगिनत ताड़नाओं के अधीन किये जाते हैं और मृत्यु द्वारा हमारी परीक्षा ली जाती है। हम परमेश्वर के धर्मी और आलीशान स्वभाव के बारे में सीखते हैं, उसके प्रेम और करुणा का आनंद भी लेते हैं; परमेश्वर के महान सामर्थ्य और विवेक की सराहना करते हैं, परमेश्वर की सुंदरता के गवाह बनते हैं, और मनुष्य को बचाने की परमेश्वर की उत्कट इच्छा को देखते हैं। इस साधारण मनुष्य के वचनों में, हमें परमेश्वर का स्वभाव और सार ज्ञात हो जाता है; परमेश्वर की इच्छा समझ जाते है, मनुष्य की प्रकृति और उसका सार ज्ञात हो जाता है, हम उद्धार और पूर्ण होने का मार्ग जान जाते हैँ।

"परमेश्वर के प्रकटन को उनके न्याय और ताड़ना में देखना" से

परमेश्वर का प्रत्येक वचन हमारे मर्मस्थल पर चोट करता है, और हमें दुःखी एवं भयभीत कर देता है। वह हमारे विचारों को प्रकट करता है, हमारी कल्पनाओं को प्रकट करता है, और हमारे भ्रष्ट स्वभाव को प्रकट करता है। वह सब जो हम कहते और करते हैं, और हमारे प्रत्येक विचार और सोच, हमारा स्वभाव और सार उसके वचनों के द्वारा प्रकट होता है, हमें अपमानित करता हुआ और भय से काँपता हुआ छोड़ देता है। हमें यह महसूस कराते हुए कि हम पूरी तरह उजागर कर दिए गए हैं, और यहाँ तक कि पूरी तरह से राजी महसूस कर करवाते हुए, वह हमें हमारे सभी कार्यों, हमारे लक्ष्यों और अभिप्रायों को, और यहाँ तक कि हमारे भ्रष्ट स्वभाव जिसे हमने कभी खोजा नहीं है, के बारे में भी बताता है। परमेश्वर अपने प्रति हमारे विरोध के लिए हमारा न्याय करता है, अपनी ईशनिंदा और तिरस्कार के कारण हमारी ताड़ना करता है, और हमें यह अनुभव करवाता है कि उसकी दृष्टि में हम मूल्यहीन हैं, और हम ही जीवित शैतान हैं। हमारी आशाएँ चूर-चूर हो जाती हैं, हम उससे अविवेकपूर्ण माँगें करने और उसके सामने ऐसा प्रयास करने का साहस अब और नहीं करते हैं, और यहाँ तक कि रात भर में हमारे स्वप्न गायब हो जाते हैं। यह ऐसा तथ्य है जिसकी कल्पना हममें से कोई नहीं कर सकता है और जिसे हममें से कोई भी स्वीकार नहीं कर सकता है। एक क्षण के लिए, हमारे मन असंतुलित हो जाते हैं, और हम नहीं जानते हैं कि मार्ग पर आगे कैसे बढ़ें, नहीं जानते हैं कि अपना विश्वास कैसे जारी रखें। ऐसा लगता है कि हमारा विश्वास जहाँ था वहीं वापस लौट गया है, और यह कि हम कभी प्रभु यीशु से मिले और परिचित हुए नहीं हैं। हमारी आँखों के सामने हर बात हमें हक्का-बक्का कर देती है, और हमें महसूस करवाती है मानो हमें बाहर कर दिया गया है। फिर हम हताश होते हैं, हम हतोत्साहित होते हैं, और हमारे हृदयों की गहराई में अदम्य क्रोध और निरादर होता है। हम उसे बाहर निकालने का प्रयास करते हैं, कोई तरीका ढूँढ़ने का प्रयास करते हैं, और, उससे भी अधिक, हम अपने उद्धारकर्ता यीशु की प्रतीक्षा करना जारी रखने का प्रयास करते हैं और अपने हृदयों को उसके सामने उड़ेलते हैं। यद्यपि ऐसे अवसर भी आते हैं जब हम बाहर से न तो घमंडी होते हैं और न विनम्र, तब भी अपने हृदयों में हम नुकसान की ऐसी भावना से व्यथित हो जाते हैं जैसी पहले कभी नहीं हुई। यद्यपि कभी-कभी हम बाहरी तौर पर असामन्य रूप से शांत दिखाई दे सकते हैं, किंतु भीतर हम समुद्र की गर्जना जैसी यातना का अनुभव करते हैं। उसके न्याय और ताड़ना ने हमें हमारी सभी आशाओँ और स्वप्नों से वंचित कर दिया है, और हमारी अनावश्यक इच्छाओं से रहित कर दिया है, हम यह मानने के लिए तैयार नहीं हैं कि वह हमारा उद्धारकर्ता है और हमारा उद्धार करने में सक्षम हैं। उसके न्याय एवं ताड़ना ने हमारे और उसके बीच एक गहरी खाई पैदा कर दी है और यहाँ तक कि कोई उसे पार करने की इच्छा भी नहीं कर रहा है। उसके न्याय और ताड़ना के कारण पहली बार हम इतना अधिक नुकसान और इतना बड़ा अपमान झेलते हैं। उसके न्याय और ताड़ना ने हमें परमेश्वर के आदर और मनुष्य के अपराध के बारे में सहनशीलता की वास्तव में सराहना करने दी है, जिसकी तुलना में हम बहुत अधम और अशुद्ध हैं। उसके न्याय और ताड़ना ने पहली बार हमें अनुभव कराया कि हम कितने अभिमानी और आडंबरपूर्ण हैं, और कैसे मनुष्य कभी परमेश्वर की बराबरी नहीं कर सकता है, और उसके समान नहीं बन सकता है। उसके न्याय और ताड़ना ने हमारे भीतर यह उत्कंठा उत्पन्न की है कि हम ऐसे स्वभाव में अब और न रहें, और हमारे भीतर ऐसे स्वभाव तथा सार से जितना जल्दी हो सके छुटकारा पाने की, और आगे उसके द्वारा तिरस्कृत और उसके लिए घृणित न होने की इच्छा उत्पन्न की है। उसके न्याय और ताड़ना ने हमारे लिए उसके वचनों का आज्ञापालन करना, और अब उसके आयोजनों और व्यवस्थाओं के विरुद्ध विद्रोह न करना सुखद बनाया। उसके न्याय और ताड़ना ने हमें एक बार फिर जीवन की खोज करने की इच्छा दी है, और उसे हमारे उद्धारकर्ता के रूप में स्वीकार करने की प्रसन्नता दी है.... हम विजय के कार्य से बाहर निकल गए हैं, नरक से बाहर आ गए हैं, मृत्यु की छाया की घाटी से बाहर आ गए हैं.... सर्वशक्तिमान परमेश्वर ने हमें, लोगों के इस समूह को जीत लिया है! उसने शैतान पर विजय पाई है, और अपने सभी शत्रुओं को पराजित कर दिया है!

"परमेश्वर के प्रकटन को उनके न्याय और ताड़ना में देखना" से

जब तुम राज्य के युग में देहधारी परमेश्वर के कार्य के प्रत्येक कदम का अनुभव प्राप्त कर लोगे, तब तुम अनुभव करोगे कि अनेक वर्षों की तुम्हारी आशाएँ अंततः साकार हो गयी हैं। तुम अनुभव करोगे कि केवल अब तुमने परमेश्वर को वास्तव में आमने-सामने देखा है, केवल अब ही तुमने परमेश्वर के चेहरे को निहारा है, परमेश्वर व्यक्तिगत कथन को सुना है, परमेश्वर के कार्य की बुद्धि की सराहना की है, और वास्तव में महसूस किया है कि परमेश्वर कितना वास्तविक और सर्वशक्तिमान है। तुम महसूस करोगे कि तुमने ऐसी बहुत सी चीजों को पाया है जिन्हें अतीत में लोगों ने कभी देखा या धारण नहीं किया था। इस समय, तुम संतुष्ट रूप में जान लोगे कि परमेश्वर पर विश्वास करना क्या है, और परमेश्वर के हृदय के अनुसरण में होना क्या है। निस्संदेह, यदि तुम अतीत के विचारों से जुड़े रहते हो और परमेश्वर के दूसरे देहधारण को अस्वीकार या इनकार करते हो, तब तुम खाली-हाथ रहोगे और कुछ नहीं पाओगे, और अंततः परमेश्वर का विरोध करने के दोषी होगे। वे जो सत्य का पालन करते हैं और परमेश्वर के कार्य के प्रति समर्पण करते हैं, वे दूसरे देहधारी परमेश्वर – सर्वशक्तिमान—के नाम के अधीन आएँगे। वे परमेश्वर से व्यक्तिगत मार्गदर्शन पाने में सक्षम होंगे, वे अधिक उच्चतर सत्य को प्राप्त करेंगे और वास्तविक मानव जीवन ग्रहण करेंगे।

"केवल वह जो परमेश्वर के कार्य को अनुभव करता है वही परमेवर में सच में विश्वास करता है" से

स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया

उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html

kassel-tent-from-above-img_6034_44044767590_o by Thierry Geoffroy / Colonel : Artist

1

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

en.wikipedia.org/wiki/Thierry_Geoffroy

Documenta From Wikipedia,

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

- Browse this collection on Europeana

- and on Wikimedia Commons

Please consider donating to the British Library.

¡ 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

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