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Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

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invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

-----

other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

وینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアート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

Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019

pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum

artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability

#art #artist #artistic #artists #arte #artwork

Thierry Geoffroy / Colonel

German Chaplain, Eastern Front 1944 by Chris Wilson

1 6

Our site 21infantry.co.uk/

21infantry.co.uk/equipment.html

21infantry.co.uk/Media.html

Facebook www.facebook.com/21infanterie/

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

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

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

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

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

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

Film & TV Walk Ons

WW2 Film & TV Vehicles (action Vehicles)

Film & TV Extras

Professional photography

Public WW2 Events

WW2 prop construction

Period vehicle restoration

WW2 Airsoft events

Private Battle Weekends

Bushey Hall 1940's Museum open days (Monthly)

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

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

Biennalist @Venice Biennale by Thierry Geoffroy / Colonel : Artist

BIENNALIST @ Venice Biennale

www.emergencyrooms.org/formats.html about other art format

------------about Venice Biennale history from wikipedia ---------

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

----------

#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

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

#biennalevenice

Institutional Critique

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

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

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

Culture, Collective History, Group of Portraits, Photographic Source

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

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

Personal Histories, Alter Egos and Avatars

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

, Photographic Source

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist

Biennalist @Venice Biennale by Thierry Geoffroy / Colonel : Artist

BIENNALIST @ Venice Biennale

he.kingdomsalvation.org/videos/its-good-to-believe-in-God...

www.emergencyrooms.org/formats.html about other art format

------------about Venice Biennale history from wikipedia ---------

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

----------

#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

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

#biennalevenice

Institutional Critique

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

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

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

Culture, Collective History, Group of Portraits, Photographic Source

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

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

Personal Histories, Alter Egos and Avatars

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

, Photographic Source

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist

סרט חדש 2019 'טוב להאמין באלוהים' - טריילר HD by אבו‏ עזרא‏

1

סרט חדש 2019 - ישועה -'טוב להאמין באלוהים' - טריילר HD

דינג רוילין ובעלה פתחו וניהלו עסק בזיעת אפיים ובעבודה קשה כדי להרוויח מספיק כדי לחיות חיים טובים, אך בשל הניצול וההתעללות מצד הממשל הקומוניסטי בסין, הם נותרו עם חובות גדולים, ולא הייתה להם ברירה אלא לנסוע לחו"ל כדי לעבוד. כדי להרוויח יותר כסף, דינג רוילין מתחילה לעבוד בשתי עבודות. העול הכבד של עבודתה ואדישותם של הסובבים אותה גורמים לה להבין את הכאב וחוסר האונים הכרוכים בעבודה למען הכסף. בעוד היא שרויה בכאב ובלבול, היא פוגשת את לין ז'יסין, חברתה לספסל הלימודים מהתיכון. השתיים משוחחות, ודינג רוילין רואה שלין ז'יסין החלה להבין דברים רבים הודות לאמונתה באלוהים. כשאלוהים לצדה, היא חשה שלווה ואושר רוחניים וחיה במצב נינוח ונעים, שמעורר אצל דינג רוילין רצון להאמין באלוהים כמוה. זמן קצר לאחר מכן, כדי להרוויח כסף רב יותר, דינג רוילין ובעלה רוכשים מסעדה, אך דינג רוילין לוקה במחלה קשה עקב עייפות שהצטברה אצלה לאורך זמן, וקיים סיכון שהיא תלקה בשיתוק. ייסורי המחלה מעוררים בדינג רוילין הרהורים על החיים. לשם מה על בני האדם לחיות? האם כדאי להקריב את החיים למען עושר ותהילה? האם הכסף יכול לסייע לאנשים להיחלץ מריקנות ואומללות? האם בכוחו להציל אנשים מן המוות? הודות לשיתופי דבר האל מפי אחיותיה, דינג רוילין רוכשת את היכולת לראות בבירור את התשובות לשאלות האלה על החיים, לומדת אודות הדבר שחשוב ביותר לחתור אליו בחיים ולבסוף זוכה בשחרור רוחני. בזכות ההכוונה שבדבר האל, דינג רוילין מוצאת לבסוף אושר בחיים…

מהי משמעות החיים? - 'טוב להאמין באלוהים'

Image Source:כנסיית האל הכול יכול

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"Souvenir" [18/366] by Miguel Durán

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· 366project2012 Blog.

“Conservateur-Restaurateurs d’œuvres d’art et de biens culturels“ by frederik cnockaert

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“Conservateur-Restaurateurs d’œuvres d’art et de biens culturels“

Masters en conservation-restauration d’oeuvres d’art

Kerat sprl

Hoogweg 42

8940 Wervik

0495/513387

e-mail: info@kerat.be

w ww.kerat.be

w ww.cmonmetier.be /pano/kerat_restauration.html

Je vous presente Kerat SPRL, un atelier de métiers d'art, avec specialisation en conservation de tableaux et de sculptures.

Notre savoir- faire s'est ; conservation et restauration d'oeuvres d'art

conservation-restauration d’objets d’art- peintures- sculptures- oeuvres polychromées-, dessins- gravures et cadres.*Restauration de tableaux et d'objets d'art polychromes.

*Copiste, Copies de tableaux de Maîtres.

*Peinture décoration, Faux marbre, faux bois, trompe l'oeil .

*Doreur à la feuille d'or, Restauration du patrimoine mobiler.

* Restauration de meubles peints.

*bureau d'etudes des tableaux, expertises en antiquité d'art, restaurateur d’œuvres d’art

*Artisan doreur: atelier de restauration et de création de dorure à la feuille d'or. Patines à l'ancienne.

par la présente je me permets de vous proposer mes services comme expert restaurateur de tableaux (diplôme de type universitaire) , céramique, porcelaine et sculpture pierre, terre et de sculptures en bois polychromé.

comme vous pouvez voir dans mon curriculum vitae,joint en annexe, je n'ai pas seulement acquis une formation théorique en la matière,mais également l'exercice depuis plus de quinze ans du métier de restaurateur,m'a permis d'acquérir une large expérience qui de plus en plus est reconnue par les instances publiques et culturelles nationales.

c'est avec grand plaisir que je vous recevrai d'ailleurs dans mon atelier pour vous expliquer en détail ma manière d'approcher l'oeuvre d'art dans tous les aspects que contient l'activité d'un restaurateur compétent.

Des expert restaurateurs dont leur métier est une passion.ce serait également une bonne occasion pour vous de visualiser différentes oeuvres d'art en cours de traitement dans mes locaux.

on donne un devis gratuit sur rendez-vous. expertises gratuites en cas de restauration.

expertises forfaitaires (hors frais de déplacement) sur rendez-vous.

travaux de restauration sur place ou en notre atelier.

vous trouverez également quelques exemples d'oeuvres qui m'ont été confiées sur mon site de web ww w. kerat.be

je suis bien sur entièrement à votre disposition pour répondre aux questions que vous pourriez avoir concernant une oeuvre à laquelle vous tenez beaucoup et que vous craignez de mettre dans des mains inexpertes. chaque peinture demande un traitement individuel. authenticité du peintre est garantie.

le respect est la base de mes principes ethiques.

Nos références

Des pouvoirs publics, églises, musées des Beaux Arts , galeries d'antiquité's , assurances, collections privées, Galeries d'Art, Chaînes Hôtelières, Décorateurs d'Intérieur, entreprises...

Kerat est membre de l' Office des Métiers d'Arts de la Province art_et_patrimoine et l'association de restaurateurs proffessionelle ara vzw.

présentation personelle;

Mes formations sont; etudes à l'institut saint-luc à gand, ecole nationale supérieure des arts cours du jour diplome homologué (1986 - 1990);

formation specialisée à l'académie des beaux-arts (1990- 1991- 1992),

diplôme de « conservateur restaurateur d'oeuvres d'art ».

perfectionnement dans le métier de restaurateur d'oeuvres d'art par stage pratique de deux ans (1992 - 1994) aux musées communaux de anvers.

au cours de ce stage, notamment restauration d'un tableau important de la main de pierre-paul rubens (sénèque ) au musée plantin - moretus et des eglomisé's pour le musée national de la navigation.

en 1995 engagé comme restaurateur contractuel à plein-temps par les musées communaux de bruges, jusque fin 2002. pendant cette période restauration, entre -autres, du buste polychromé bien connu du jeune charles-quint, de conrat meit, de même que quelques tableaux de pieter claeissens et de pieter pourbus (16e siècle).

en 2002, il s'établit comme restaurateur indépendant à wervik, sous la dénomination kerat (kunst en restauratie atelier / atelier d'art et de restauration) sprl. dès le début, l'atelier s'est profilé comme un ensemblier où non seulement la restauration de tableaux est pratiquée, mais où le champ d'action est également étendu à d'autres disciplines de l'art de la restauration comme, par exemple, aux sculptures et panneaux polychromés et même au traitement de papier abîmé dans toutes ses formes.

nous avons acquis une expérience de 16 ans pour des travaux dans le domaine public aussi bien que privé. dans le domaine public, citons, à titre d'exemple la restauration de dix grandes toiles murales de theodore de bruyn ( 18e siècle ) au musée plantin-moretus, les travaux pour l'hôtel de ville de bruxelles (2002 et 2004), pour l'eglise de haasdonk (2003), pour l'église saint-ghislain à belsele, pour l'abbaye de colen-kerniel à looz (2004 prix de la communauté flamande) ou pour l'église du béguinage de bruxelles (2005 ).

Chantier recent en public kerat à réalisés des Peinture et décoration dans l’intérieur du chateau d'ursel. des faux marbres, rouge royal.

avec le soutien du ministère de la communauté flamande, département monuments et sites.

maître de conférences pour syntra-west concernant "restauration de peinture de chevalet tableaux"

chef d’entreprise en restauration de tableaux d’art et membre de la commision de réforme de l'enseignement de l'art, conseil général procuré par le vizo.

Depuis septembre 2002 je travaille comme professeur pour le centre de formation Syntra West section restauration de tableaux à Bruges.

Conférences données sur la restauration du patrimoine pictural (Cours destiné 3e années). technologie-sciences appliquées restauration de peintures de chevalet sur supports variés (toile, bois, carton, cuivre, pierre).

COMMENT TRAVAILLONS-NOUS ?

Il est toujours préférable de vous présenter avec votre pièce pour avoir une bonne vision du travail à effectuer et pour permettre un devis de réparation précis.

Après observation, recherche, examen et évaluation, un devis gratuit et sans engagement vous est proposé (prix global valable pour 3 mois),

Une garantie de 15 ANS vous est octroyée sous réserve de conditions

normales de conservation.

Nous sommes ouvert tous les jours sur rendez-vous .

Combien ca coute ? Devis gratuit sur présentation de l'œuvre.

un devis est possible par email, par envoi d'une photographie, mais il est impératif d'ausculter la pièce à traiter pour se faire une idée précise des différentes problématiques.

chère madame, cher monsieur, en l’assurance de mes respectueuses salutations.

frederik cnockaert

**********************************************************--

bvba kerat

Independant Consultants in restauration of ART and Fine Paintings

What we are

We are independent qualified conservators and restaurators of fine art and paintings.

We have a particular expertise in conservation and restauration of fine paintings

Delivery of a Certificate of Authenticity, by a qualified renowned professional independant expert with a master degree in Art and Antiques Expertise

Clients: Antiques dealers merchants Private individuals, interior designers, decorators, architects, developers, collectors, museums, private persons, galleries....

painting restorer frederik cnockaert ( kerat) is one of belgium's leading oil painting and antiques conservator restaurator. he provides paintings and fine art restoration & conservation services .

all cleaning and restoration work is of the highest quality, using minimal intervention and following the ethical restoration standards in reversibility. as well as the cleaning and restoration of pictures, the studio covers all aspects of restoration/conservation relevant to the structure/support of oil paintings.

composition lining (in-house), panel repairs (wood, metal, board), surface improvement, consolidation work on canvases that do not require lining support, microfriction (for problematical paintings) condition reports, documentation of work and photographs free, no-obligation consultation, evaluation and estimates

reports for insurance companies, pre-auction appraisal of paintings for prospective buyers, regular weekly consultations are held in wervik, by appointment . kerat art restoration and conservation paintings, sculptures, drawings, prints and photographs.

Kerat has 18 years of experience in conservation and restoration. Kerat ensures that the proper materials and techniques are used to bring your artwork and photography back to its original condition as closely as possible. conservation and restoration treatment of easel paintings on supports of wood, canvas, metal, or stone. each painting requires individual treatment. the authenticity of the painter is guaranteed.

respect is the basis of my ethical principles.

conservation cleaning involves the identification of the appropriate agent or solvent for cleaning the surface and substrate of artwork.

paintings and prints on canvas or paper whose medium is oil, acrylic, tempera, watercolor or gouache and prints utilizing photography, silkscreen, lithography engravings and etching all require different techniques and materials for proper cleaning that will not damage the underlying artwork.

restoration involves the repair of tears, blisters and flakes of paintings and prints surfaces, the relining of fragile or heavily damaged canvas and the filling and in-painting of damaged or missing areas. the removal and reapplication of varnishes is part of the restoration process.

free quotation (excl travel), appointment only assignments both on site and in own workshop in-depth cleaning of painting, treatment of rents, rips or dents, treatment of panels showing cracks, missing pieces of ornament in a frame can be restored, conservation of old and modern masters on panel, canvas, copper and other supports. the restauration of a painting requires highly specialized expertise and know-how.

a conservator restaurator specializing in paintings has to know and sense the peculiarities of an artwork to be able to treat the object professionally and effectively.

we have works cofinanced by the ministry of flemish community, division " monuments and landscapes".

We are independant Consultants in Fine old Paintings and Arts and qualified conservators restaurators of antiques and fine art. We have a particular expertise in paintings. Delivery of a Certificate of Authenticity by qualified renowned professional independant experts with master degree in OLD Art and Antiques Expertise.

Kerat is happy to offer free and non-committal advice on all restoration requests. Every restoration is preceded by giving the client a clear understanding of the work required, the duration of the project and the overall cost. We will advise the client on the relationship between added value and (additional) cost. Once agreed, a departure from the original proposal is only made in close cooperation with the client. If asked for, the exact procedure followed during restoration will be explained to the client and if possible, demonstrated. Clients can also request a report on the actual restoration process, including photographs and an objective evaluation of the condition of the painting being restored.

The restorers at Kerat have years of individual experience with all kinds of easel pictures, ranging from early Flemish panel painting to modern day canvases executed in mixed media. Cost estimate in advance

After examination by the various restorers involved, the customer will receive an estimation of the costs beforehand and the date of completion. After agreement with the customer, the actual restoration will be started.

Reversible

The method of working preferred is the reversible one: this means that it will be possible to undo the restoration in the future when there will be perhaps better techniques of restoring. A photo report will be made before, during and after the restoration. The damages will be described as well as the materials used during the restoration (name and composition). This report will be recorded in the archive of the Restauratie-studio.

If desired, the customer can have a copy of this report by paying a supplement.

contact us for damage assessment, quotes and more information.

_D1A1861_2_3_4_5 by Brian Gibbs

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en.wikipedia.org/wiki/Absinthe

en.wikipedia.org/wiki/Val-de-Travers

www.absinth.com

www.myswitzerland.com/en-gb/through-the-areuse-gorge.html

is-art-the-last-bastion-for-uprise--venice-biennale_33688105134_o by Thierry Geoffroy / Colonel : Artist

BIENNALIST @ Venice Biennale

www.punkglobe.com/jaynecountyinterview0809.html

www.emergencyrooms.org/formats.html about other art format

------------about Venice Biennale history from wikipedia ---------

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

----------

#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

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

#biennalevenice

Institutional Critique

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

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

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

Culture, Collective History, Group of Portraits, Photographic Source

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

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

Personal Histories, Alter Egos and Avatars

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

, Photographic Source

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist

Released to Public: NASA Pilot Bruce Peterson and Star Trek's James Doohan (NASA) by pingnews.com

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Description: NASA pilot Bruce Peterson (right) and actor James Doohan (of Star Trek fame) discuss the M2-F2 Lifting Body. . For more information Visit NASA's Multimedia Gallery You may wish to consult NASA's

image use guidelines. If you plan to use an image and especially if you are considering any commercial usage, you should be aware that some restrictions may apply.

________________________

NOTE: In most cases, NASA does not assert copyright protection for its images, but proper attribution may be required. This may be to NASA or various agencies and individuals that may work on any number of projects with NASA. Please DO NOT ATTRIBUTE TO PINGNEWS. You may say found via pingnews but pingnews is neither the creator nor the owner of these materials.

_________________

Additional information from source:

Project

Description: Bruce A. Peterson joined NASA in August 1960 as an engineer at the Flight Research Center (now NASA Dryden). He transferred to the Flight Operations branch in March 1962 and was initially assigned as one of the project pilots on the Rogallo paraglider research vehicle (Paresev) program. The Paresev was used to evaluate the use of an inflatable and non-inflatable, flexible wing for the recovery of manned space vehicles. A handful of NASA pilots made more than 100 Paresev research flights between 1962 and 1964. It resembled a tricycle beneath a hang glider, and was towed aloft behind a car or small airplane and released for a glide landing.

In preparation for his continuing flight research duties, he attended the Air Force Test Pilot School, graduating as a member of Class 62C. In fact, he was the first NASA pilot to graduate from the TPS. He remained active with the Marine Corps Air Reserve, flying the F9F, OV-10, A-4 and various helicopters.

As a NASA research pilot he flew a wide variety of airplanes including F5D-1, F-100, F-104, F-111A, B-52, NT-33A Variable Stability Trainer, T-33, T-37B, T-38A, C-47, CV-990, Learjet, JetStar, wingless lifting bodies, numerous general aviation aircraft, several types of helicopter and sailplanes.

As project pilot on the F-111A, he performed tests related to stability and control, performance and structural loads. The F-111 was a variable-geometry (or swing-wing) jet aircraft. Research with the aircraft included engine inlet and exhaust studies, internal flow investigations and aerodynamics research.

On Dec. 3, 1963, he flew the first of 42 flights in the M2-F1 lightweight lifting body. His first flight in the heavyweight M2-F2 on Sept. 16, 1966, was an unpowered glide flight from an altitude of 45,000 feet. After release from a B-52 mothership, he executed a 360-degree turning approach and landed on the dry lakebed. He made another glide flight in the same vehicle six days later.

Peterson piloted the maiden flight of the HL-10 lifting body on Dec. 22, 1966. During the three-minute descent to landing, he discovered he had minimal lateral control over the vehicle. Airflow separation across the control surfaces rendered the HL-10 virtually unflyable but he managed to land the vehicle safely, a tribute to his considerable piloting skills. As a result of the data collected during the near disastrous flight, the HL-10 was modified to fix the problem and went on to become one of the most successful lifting body concepts. It was a strong contender for the final space shuttle design.

Peterson was injured in the crash of the M2-F2 on May 10, 1967. He recovered from his injuries but lost his sight in one eye due to a secondary infection while in the hospital.

Peterson continued to fly NASA support missions, occasional research flights and his Marine Reserve flying duties. He continued to fly for NASA until 1971, doing research in the T-33, F-104B, F-111A, CV-990 and Aero Commander. He also flew NASA's SH-3A helicopter. The Marine Corps gave him a waiver that allowed him to fly with a co-pilot and he continued to fly the OV-10 airplane and the AH-1G and CH-46 helicopters. During his flying career Peterson logged more than 6,000 flight hours in nearly 70 types of aircraft.

Peterson gained a small measure of fame when his accident and subsequent recovery inspired a 1970s television series called The Six-Million Dollar Man. The storyline featured a test pilot who, having been injured in the crash of a lifting body vehicle, is rebuilt with advanced "bionic" technology. Film footage of the M2-F2 accident was used in the show's opening credits.

Peterson continued at NASA Dryden as the research project engineer on the F-8 Digital Fly-By-Wire program of the late 1960s and early 1970s, and later assumed responsibility for Safety and Quality Assurance for Dryden until his retirement in 1981.

He left NASA for a position with Northrop where he assumed responsibility for safety and quality assurance for testing of the B-2 Advanced Technology Bomber. From 1982 until 1994 Peterson worked in Northrop's B-2 division at Air Force Plant 42 in Palmdale and Edwards, becoming manager of system safety and human factors.

A native of Washburn, N.D., Peterson was born on May 23, 1933. He grew up in Banning, Calif., and attended the University of California at Los Angeles from 1950 to 1953. While at UCLA he held a job as an aircraft assembler for Douglas Aircraft Company.

He enlisted as a Naval Aviation Cadet at Santa Ana, Calif., in 1953, and was commissioned a Marine Corps second lieutenant in Nov. 1954. He was released from active duty three years later. In 1958 he enrolled in California State Polytechnic College at San Luis Obispo where he received a bachelor of science degree in aeronautical engineering.

Peterson is a fellow of the Society of Experimental Test Pilots and 2002 recipient of the Tony LeVier Flight Safety Award. He was honored by NASA with an exceptional leadership award for his work on space shuttle STS-1. In 2003 he was inducted into the Aerospace Walk of Honor.

Peterson passed away on May 1, 2006.

AS68 - 48 by Hans Wendland

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

A KYMARA 21ST CENTURY THREE DAY HAPPENING

Friday, April 9, 2010 at 8:00pm

Chelsea Hotel

New York, NY

jaynecounty.com/

en.wikipedia.org/wiki/Jayne_County

www.myspace.com/jayneisblonde

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

Description

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

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

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

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

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

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

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

FASHION SHOW BY "LIVE FAST" NYC

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

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

QUESTIONS????COMMENTS?????

CALL KYMARA DIRECTLY AT..

207-286-7399

OR EMAIL KYMARA@KYMARA.COM

Biography

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

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

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

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

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

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

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

ten great Indian chiefs by Nadia D'Agaro

15 2

www.edizionilpuntodincontro.it/libri/dieci-grandi-capi-li...

"Cavallo Pazzo, Capo Dan George, Falco Nero, Capo Joseph, Orso In Piedi, Capo Seattle, Nuvola Rossa, Ohiyesa, Red Jacket e Toro Seduto sono dieci famosi capi indiani che hanno segnato la storia di un popolo nobile e fiero. Le loro parole sono infuse di una profonda saggezza. Parlano di amicizia, dignità, coraggio, fratellanza, comprensione reciproca e amore per la natura; valori che sono alla base della tradizione del "piccolo grande popolo".

In questo illuminante e prezioso volumetto, sono raccolti dieci discorsi che ci parlano al cuore e ci permettono di conoscere un punto di vista diverso da quello a cui i luoghi comuni ci hanno abituati. I discorsi di questi grandi capi indiani vibrano di saggezza, di fierezza e di coraggio; sono discorsi che, seppure pronunciati più di un secolo fa, mantengono inalterato il loro valore morale."

"Crazy Horse, Chief Dan George, Black Hawk, Chief Joseph, Standing Bear, Chief Seattle, Red Cloud, Ohiyesa, Red Jacket and Sitting Bull are ten famous Indian leaders who marked the history of a noble and proud people. Their words are infused with profound wisdom. They talk about friendship, dignity, courage, brotherhood, mutual understanding and love for nature; values that are the basis of the tradition of the "little great people".

In this enlightening and precious booklet, ten speeches are collected that speak to our hearts and allow us to know a different point of view from the one to which clichés have accustomed us. The speeches of these great Indian leaders vibrate with wisdom, pride and courage; they are speeches which, although pronounced more than a century ago, maintain their moral value unchanged."

BERLIN BIENNALE #BB8 CAR WASH and debate on GLOBAL WARMING by Thierry Geoffroy / Colonel : Artist

performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.

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

academy-emergency-art.blogspot.dk/2014/05/why-should-berl...

-----

Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?

ARE BIENNALES DANGEROUS ?

Art Formats : ( including Emergency Art )

Biennalist:

academy-emergency-art.blogspot.dk/2014/05/why-should-berl...

www.colonel.dk

THE EMERGENCY WILL REPLACE THE CONTEMPORARY

-------

----more about Berlin Biennale ---#BB8

Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art

KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.

Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).

The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.

Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.

Curators have been:

1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist

2nd Berlin Biennale (2001): Saskia Bos

3rd Berlin Biennale (2004): Ute Meta Bauer

4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic

6th Berlin Biennale (2010): Kathrin Rhomberg

7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza

The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).

The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

KW Institute for Contemporary Art

Berlin Biennale für zeitgenössische Kunst

Auguststraße 69

#BB8

---artists participating ---

52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.

Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.

BERLIN BIENNALE #BB8 CAR WASH and debate on GLOBAL WARMING by Thierry Geoffroy / Colonel : Artist

performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.

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

-----

Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?

ARE BIENNALES DANGEROUS ?

Art Formats : ( including Emergency Art )

Biennalist:

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

www.colonel.dk

THE EMERGENCY WILL REPLACE THE CONTEMPORARY

-------

----more about Berlin Biennale ---#BB8

Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art

KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.

Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).

The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.

Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.

Curators have been:

1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist

2nd Berlin Biennale (2001): Saskia Bos

3rd Berlin Biennale (2004): Ute Meta Bauer

4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic

6th Berlin Biennale (2010): Kathrin Rhomberg

7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza

The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).

The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

KW Institute for Contemporary Art

Berlin Biennale für zeitgenössische Kunst

Auguststraße 69

#BB8

---artists participating ---

52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.

Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.

BRUNO PREMIANI

Doom Patrol 93

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

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

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

He is believed to have died in Argentina in 1984.

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

Bruno Premiani

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

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

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

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

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

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

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

lambiek.net/artists/p/premiani_bruno.htm

Hoar Frost Icicles, 2014.02.01 by Knoxville Photo

4 2

Lori Deiter and I planned to hike the Falls Trail on Feb 1st... It was decided to hike in from Rte 118 up to Onondaga Falls on Glen Leigh. Mark Van Scyoc and his friend, Doug Reese met us in the parking lot and we hiked up together to B. Reynolds and they left to hike up to the base of Ganoga Falls. My favorite / highlight of the day was the ice leading up to and around Ozone Falls - awesome.

Ricketts Glen State Park

Luzerne County, Pennsylvania

Saturday, February 1st, 2014

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

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

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

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

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

www.emergencyrooms.org

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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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Hino da igreja by Li Philipe

2

Hino da igreja

Seguir o Cordeiro e cantar cânticos novos

e louve a vinda do reino de Deus ao mundo!

melhor música gospel 2018

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

3200 - jordan by AndyNoise.Com

1

CIF CENTRAL SECTION CHAMPIONSHIP

Liberty High School - Wednesday, May 14, 2008

www.andynoise.com/valley08.html

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Girls track

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

http://www.style-geo.com/model-sherri-hill-spring-2013-prom-dresses-with-kendall-kylie-jenner.html by stylegeoo@yahoo.com

1

www.style-geo.com/model-sherri-hill-spring-2013-prom-dres...

is-the-vatican-pavilion-at-the-venice-biennale-a-good-subject-for-biennalist-_5815014463_o by Thierry Geoffroy / Colonel : Artist

BIENNALIST @ Venice Biennale

stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...

www.emergencyrooms.org/formats.html about other art format

------------about Venice Biennale history from wikipedia ---------

The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice

The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]

----------

#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

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

#biennalevenice

Institutional Critique

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

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

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

Culture, Collective History, Group of Portraits, Photographic Source

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

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

Personal Histories, Alter Egos and Avatars

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

, Photographic Source

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation

Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist

South cleresory window Oswald; Ethelbert; Augustine; Gregory by david.robarts

Our Lady & The English Martyrs, Cambridge

Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.

At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).

The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.

Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].

Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.

Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.

The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.

The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.

The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.

The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.

Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.

The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.

3200 - jordan by AndyNoise.Com

1

CIF CENTRAL SECTION CHAMPIONSHIP

Liberty High School - Wednesday, May 14, 2008

www.andynoise.com/valley08.html

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Girls track

Central Section Grand Masters

At Liberty

Team standings--unavailable.

400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.

Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.

Crafts Museum, Delhi, India by balavenise

4 1

www.valleyindiatimes.com/columns/artsofindia/10_09.html

"Madhubani painting or Mithila Painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India.

[edit] Origins

The origins of Madhubani painting or Mithila Painting are shrouded in antiquity. Tradition states that this style of painting originated at the time of the Ramayana, when King Janak commissioned artists to do paintings at the time of marriage of his daughter, Sita, to Lord Ram.

Madhubani painting has been done traditionally by the women of villages around the present town of Madhubani (the literal meaning of which is forests of honey) and other areas of Mithila. The painting was traditionally done on freshly plastered mud wall of huts, but now it is also done on cloth, hand-made paper and canvas.

As Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Madhubani paintings also use two dimensional imagery, and the colors used are derived from plants. Ochre and lampblack are also used for reddish brown and black respectively.

Madhubani paintings mostly depict nature and Hindu religious motifs, and the themes generally revolve around Hindu deities like Krishna, Ram, Shiva, Durga, Lakshmi, and Saraswati. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. Generally no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs. objects depicted in the walls of kohabar ghar (where newly wed couple see each other in the first night) are symbols of sexual pleasure and procreation.

Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women. The painting was usually done on walls during festivals, religious events, and other milestones of the life-cycle such as birth, Upanayanam (Sacred thread ceremony), and marriage.""

en.wikipedia.org/wiki/Madhubani_art

La vita è preziosa by Guando Andelei

2 1

Fonte dell'immagine: La Chiesa di Dio Onnipotente

Condizioni d'Uso: www.kingdomsalvation.org/it/disclaimer.html

I

Cieli sconfinati, immensi e stupendi, infinitamente meravigliosi. Uomini nati su questa terra, chi dovreste adorare? Dio è il Creatore e il Signore di tutte le cose, pieno di mistero. Dappertutto c'è il prodigio di Dio, apri i tuoi occhi e guarda. Il moto di tutte le cose nell'immenso universo dipende interamente da Dio. Disgrazie e benedizioni sono cose inattese, ma sono nelle mani di Dio, di Dio. La vita passa, dura solo un istante, le nostre anime non devono avere rimpianti. Solo potendo conoscere e amare Dio le nostre vite avranno senso, le nostre vite avranno senso.

II

Dopo tanti anni di fede, ora io vedo la verità e conosco il volere di Dio. Egli loda solo l'onestà e la vita a somiglianza dell'uomo. Il piacere dell'anima viene solo vivendo secondo la parola di Dio. Adorando con il cuore e con sincerità, noi siamo felici e pieni di vita, pieni di vita. La ricerca della verità e la conoscenza di Dio non finiranno mai. L'indole cambia quando la verità è ricevuta. Noi vedremo la nostra profonda corruzione solo quando conosceremo veramente Dio. Se ci sforziamo con impegno, siamo sicuri di una cosa: alla fine potremo realizzare il senso della vita, realizzare il senso della vita.

III

La presenza del Dio incarnato tra di noi è un evento unico nella vita. Niente è più grande del conoscere Dio e del Suo perfezionarci. La parola di Dio rivela tutti i misteri della verità, Dio concede la vita all'umanità intera. Com'è grande l'amore di Dio per l'umanità! Egli merita eterna lode. È giusto e appropriato che l'umanità creata accetti e obbedisca all'opera di Dio. È certamente compito dell'intera razza umana ottenere la verità e conoscere Dio. Io sono tornato al fianco del Creatore, tutti i rimpianti della mia vita sono scomparsi. Io sono tornato al fianco del Creatore, i rimpianti della vita non esistono più, i rimpianti della vita non esistono più.

Fonte: www.kingdomsalvation.org/it/life-is-precious.html

20210805 by Guy M Wong

www.nytimes.com/2021/08/06/opinion/covid-delta-vaccines-u...

No, the Unvaccinated Aren’t All Just Being Difficult

By Bryce Covert

Ms. Covert is an independent journalist who focuses on the economy, with an emphasis on policies that affect workers and families.

On a July day in downtown Lowell, Mass., the first sunny Saturday of the month, people began to line up for a block party. Food trucks offered everyone a free empanada or egg roll. A D.J. played music. There were kid-friendly activities, too, like a touch-a-truck station with a fire truck and an ambulance.

The party wasn’t just a way to have a good time. The real motivation was to get people in the community vaccinated against Covid-19. Nestled between the food trucks were ones offering Pfizer, Moderna and Johnson & Johnson vaccines.

In the minds of the public health and community organizers who staged it, it was a roaring success. Sixty-four people got vaccinated within six hours. Hannah Tello, a community health data manager at the nonprofit Greater Lowell Health Alliance, noted that it was eight to 10 times as many vaccinations as what their mobile clinics had been doing; their most successful day before this administered 12.

The people who got shots at the party “were not people who were resistant,” Dr. Tello told me. Outreach workers went to a nearby park and invited the homeless people there to get free food and, if they wanted, a vaccination, and many took them up on the offer in such a low-stakes, nonmedical setting.

An elderly woman who cares for two people with disabilities had tried and failed to schedule vaccinations for all three of them at the same time. This time, she succeeded. A woman who was able to vaccinate all the other eligible people in her family hadn’t been able to get it herself because she has four young children she wasn’t allowed to take to the vaccination center. That day her children played cornhole while she got the shot.

The party organizers also reached about 250 other attendees, many of whom had conversations about their concerns. Some were worried that the vaccines cost money, even though they’re free to all. They were concerned they would need some sort of documentation, which they don’t. One woman hadn’t gotten the shot yet because she has an intense fear of needles; she did it that day after 25 minutes of talking it through. “Her getting her shot is just as important as the people who lined up outside our clinics a few months ago,” Dr. Tello said. “No one is less deserving of having access.”

The country’s vaccination campaign has lagged since April, and that has allowed for a spike in cases, particularly in largely unvaccinated areas. Vaccinations have risen lately in response to the spread of the Delta variant, but rather than keeping its foot on the gas and throwing every idea, every resource at the problem, the White House has started to shift the blame onto those who still haven’t gotten a shot. President Biden grumbled that he has struck a “brick wall” in persuading more Americans to get the shot. Last week, taking aim at those he called “unvaccinated, unbothered and unconvinced,” he said, “If you’re out there unvaccinated, you don’t have to die. Read the news.”

There are plenty of Americans who have been inundated with misinformation about the vaccines. Many are staunchly opposed to getting it for a variety of reasons, from personal health concerns to conspiracy theories. But that doesn’t describe everyone who is unvaccinated — not by a long shot. And there are plenty of things we can do to reach them if we’re serious about spending the time and the money.

Instead, the current approach is to argue that access has increased and it’s everyone’s individual responsibility to get a shot — and if you don’t, it’s on you. Once again, we have taken the cruelly American, ruggedly individualistic tactic of making this about personal responsibility, not about a systemic response, just as we did in combating the virus itself.

“It’s not a public health strategy for any condition to just blame somebody into treatment and prevention,” said Rhea Boyd, a pediatrician and public health advocate. Telling the unvaccinated that they’re being selfish “really runs counter to all the work it’s going to take to convince those folks to be vaccinated, to trust us that we have their best interests in mind.”

It’s also shortsighted. If some people continue to struggle with getting vaccinated, the virus will continue to run rampant, threatening a rebound in economic activity and giving the coronavirus a chance to mutate yet again. The refrain we’ve heard throughout is still true: We’re not safe until we’re all safe.

Those who aren’t yet vaccinated are much more likely to be food insecure, have children at home and earn little. About three-quarters of unvaccinated adults live in a household that makes less than $75,000 a year. They are nearly three times as likely as the vaccinated to have had insufficient food recently. Many of them have pressing concerns they can’t just put aside because they need to get a vaccination.

Access is far more widespread than it was at the beginning of the year. Many cities now offer multiple venues for getting it without needing an appointment. But about 10 percent of the eligible population still lives more than a 15-minute drive from a vaccine distribution location. And even if there’s a site down the road, it usually requires taking time off work — not just to get the shot but also potentially to recover from the side effects — arranging transportation and figuring out child care.

“Missing out on a few hours of work seems very easy to us, but in fact it could be the matter of having food for the family versus not,” said Ann Lee, the chief executive of the nonprofit Community Organized Relief Effort. For these people, when they’re weighing whether to get a vaccination or potentially forgo some wages, “the wages are going to win out.”

Those who are unvaccinated are also likely to work in essential jobs like agriculture and manufacturing that don’t allow them to step away from work. They work long hours and may prioritize time with their families or communities when they finally get a break. People who have multiple jobs may find it impossible to schedule a shot in between all of their shifts.

And yet 43 percent of the unvaccinated say they definitely or probably would get it or are unsure, according to Julia Raifman, an assistant professor at the Boston University School of Public Health.

“We pretty quickly exhausted those who were easiest to reach and vaccinate,” Tara Smith, a public health professor at Kent State, told me. “This next phase is more difficult, but I don’t think it’s impossible to continue to get more people vaccinated. We just have to get creative.”

A block party doesn’t work in every community, particularly more rural ones. For those places, an event could be staged at a church or a county fair. Anything that allows people to discuss their concerns with experts and get vaccinated on the spot erases dangerous lag time. Dr. Tello’s organization found that many disappeared in the time between an educational conversation and a vaccination appointment weeks later.

Another way to take the vaccines to people for whom the logistics are complicated is to do it at workplaces. Ms. Lee’s organization held a vaccination drive at a construction site in Washington, D.C., and vaccinated 165 people. “They wanted to get vaccinated. There was just no way some of these day laborers were going to take off of work and maybe get sick,” Ms. Lee said. In January, Riverside, Calif., began a program to take vaccines into the fields to reach agricultural workers.

There are plenty of other smart places to distribute vaccines. Take them to food pantries, where low-income and food-insecure people show up by necessity on a regular basis. Do vaccinations at shopping centers where everyone goes to buy food. Vaccine drives could also be held on the first day of school for parents and older children alike; it’s late in the game, since it takes weeks for full immunity, but it’s better than missing them entirely.

Going door to door can also reach people, particularly those who are homebound. The Central Falls Housing Authority in Rhode Island offered shots to its public housing residents at the end of last year, and by January, 80 percent had been vaccinated. In Los Angeles, Ms. Lee’s team contacts the homebound first to talk through any concerns and again a week later to administer a vaccine. Vaccines could even be paired with Meals on Wheels deliveries.

To address transportation issues, the White House collaborated with Uber and Lyft to give free rides up to $25 to and from vaccination sites. But those companies don’t operate in every community, particularly outside cities. The government could also give grants to community organizations that can give people free rides to vaccination sites. “If you have a bus at a church, you can get a grant,” Dr. Boyd suggested.

We have to mandate paid leave so workers can take at least two days to get a shot and recover without jeopardizing their incomes. The Biden administration has offered tax credits to employers with fewer than 500 employees to cover the cost of offering paid leave for getting vaccinated, which he expanded this month. Some states, including New York, have mandated it. But everywhere else, it’s up to an employer to offer it, and if existing paid leave benefits are any guide, it’s the lowest-wage workers who are least likely to get it. The Occupational Safety and Health Administration released an emergency temporary standard in June that requires employers to provide paid time off to get vaccinated and recover, but it applies only to health care workers, despite the fact that a draft version included everyone.

Short of that, community organizations can send people home from getting vaccinated with enough food for their families if they have to miss work for a day or two. When Ms. Lee’s organization did testing in the Navajo Nation, it gave people two weeks of food in case they got a positive result and had to quarantine. It’s now sending people home with food as well as diapers, formula and hygiene kits with things like shampoo and tampons.

Parents also need child care — not just for getting their shots but also if they experience side effects. The government is working with four large child care providers to offer free care, but those centers may not be available to everyone, nor will all parents feel comfortable sending their children to an unfamiliar setting. Instead, we could give them money to pay their trusted source of child care and also offer care at vaccination centers.

State and local officials can kick-start some of this on their own. But the real money, and the power to set the agenda, comes from the White House and Congress. “If the federal government said, ‘We are really concerned, we see that low-income people have not had access to the vaccine, and we’re putting forth a huge effort to bring it to them in their workplaces and homes,’” Dr. Raifman said, “that would be a compelling message that would mobilize people across the country.” Federal funding needs to be filtered down to the local level as quickly as possible. There’s a lot of money for vaccinations, but it has to get to the organizations that are deeply embedded in their communities and ready to pull this off.

Dr. Tello’s organization plans to repeat the block party this summer, this time as a back-to-school event, handing out free backpacks and school supplies as well as flu shots alongside the Covid vaccines. And it will be timed so that those who got their first shot of the Moderna or Pfizer vaccine at July’s party can get their second dose on the spot. “Sometimes,” she said, “you have to make it too convenient so that people can’t say no.”

ईसाई जीवन: 4 सलाह, जो प्रभु की मंशा के अनुरूप दूसरों के साथ आपसी संवाद करने का तरीका सिखाते हैं by इरादा

hi.kingdomsalvation.org/testimonies/how-to-interact-with-...

वांग ज़ीहान, शांक्सी प्रान्त

पारस्परिक संबंध एक ऐसा विषय है जो कई लोगों के सिर में दर्द पैदा कर देता है। यह एक ऐसा विषय भी है जिसका अक्सर ईसाई के रूप में एक व्यक्ति पूरे जीवन भर सामना करता है। प्रभु यीशु की अपेक्षा है कि हम एक-दूसरे के साथ सामंजस्य में मिलकर रहें और दूसरों से अपने समान प्यार करें। कई आस्थावान ईसाई भी प्रभु की शिक्षाओं को अभ्यास में लाने के इच्छुक हैं। हालांकि, हकीकत में, जब हम दूसरों के साथ बातचीत करते हैं, तो हम अक्सर संघर्ष और गलतफहमी का सामना करते हैं, वो भी इतना कि हमारे रिश्ते कठोर होकर टूट जाते हैं। इससे हर किसी को दर्द होता है। क्या कारण है कि हम एक-दूसरे के साथ सामंजस्यपूर्ण रूप से रहने में असमर्थ हैं? प्रभु की मंशा के अनुसार हम ईसाई अपने जीवन में दूसरों के साथ कैसे बातचीत कर सकते हैं? अतीत में मुझे जो कठिनाई हुई है, उसमें यह समस्या भी रही है। प्रभु के मार्गदर्शन के लिए उनका धन्यवाद! बाद में, मुझे एक पुस्तक में इस सवाल का जवाब मिला, जिसने मेरी कठिनाइयों का समाधान कर दिया। यहां, मैं अपने अनुभव और समझ के बारे में कुछ बताने जा रही हूँ!

1. आपको दूसरों के साथ उचित और समान व्यवहार करना चाहिए। आपको अपनी भावनाओं और वरीयताओं के आधार पर काम नहीं करना चाहिए।

यीशु ने कहा: "क्योंकि यदि तुम अपने प्रेम रखनेवालों ही से प्रेम रखो, तो तुम्हारे लिये क्या फल होगा? क्या महसूल लेनेवाले भी ऐसा ही नहीं करते? "यदि तुम केवल अपने भाइयों ही को नमस्कार करो, तो कौन सा बड़ा काम करते हो? क्या अन्यजाति भी ऐसा नहीं करते? इसलिये चाहिये कि तुम सिद्ध बनो, जैसा तुम्हारा स्वर्गीय पिता सिद्ध है" (मत्ती 5:46–48)। प्रभु के वचनों से, मैं समझ गयी कि परमेश्वर की अपेक्षा है कि ईसाई जन अपने जीवन में दूसरों के साथ परमेश्वर के वचनों के अनुसार व्यवहार करें। उन्हें अपनी भावनाओं और वरीयताओं के अनुसार ऐसा नहीं करना चाहिए। जब मैं इस बारे में सोचती हूँ कि दूसरों के साथ हम कैसे बातचीत करते हैं, तो मुझे एहसास होता है कि जब हम दूसरों से लाभ या सहायता प्राप्त करते हैं, तो हम उस दूसरे पक्ष के प्रति आनंदित और आभारी हो जाते हैं। हालांकि, जब अन्य लोग कुछ ऐसा कहते या करते है जो हमें नुकसान पहुंचाता है, तो हम इस दूसरे व्यक्ति से घृणा करने लग जाते हैं और उस पर ज़्यादा ध्यान नहीं देते हैं। जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद करते हैं, तो हम उसके करीब आते हैं और उसे अपने पास खींच लेते हैं; जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद नहीं करते हैं, तो हम उसे अस्वीकार कर देते हैं और उससे दूर चले जाते हैं। जिनके पास ऊँची हैसियत या अधिक शक्ति है, हम उनकी खूब प्रशंसा करते हैं और उनकी चाटुकारिता करते हैं। जिनके पास हैसियत या शक्ति नहीं है, हम उन्हें अस्वीकार करते हैं और उन्हें अपमानित करते हैं। कोई ऐसा जिसके लिए हमारी वरीयता होती है यदि वो हमारी कमियों को बताता है, तो हम इसे स्वीकार करने में सक्षम होते हैं। लेकिन जिसके लिए हमारी वरीयता नहीं होती, यदि वो कुछ ऐसा करता है, तो हम इसे स्वीकार नहीं करते हैं, हम इसका औचित्य सिद्ध करते हैं और कभी-कभी हम उनसे घृणा भी करते हैं, उसके साथ लड़ने लगते हैं और यहां तक कि उस पर हमला भी करते हैं। ये सभी किसी व्यक्ति द्वारा अपनी खुद की भावनाओं और प्राथमिकताओं का पालन करने और दूसरों के साथ समान रूप से व्यवहार न करने के उदाहरण हैं। यह वह तरीका भी है जिसके अनुसार अविश्वासी दूसरों के साथ व्यवहार करते हैं। यदि कोई ईसाई दूसरों के साथ इस तरह से व्यवहार करता है, तो वो उसी रास्ते पर चल रहा है जिस पर एक अविश्वासी चलता है, वह प्रभु में विश्वासी कहलाने योग्य नहीं हैं और वो जो कर रहा है वह परमेश्वर के इरादे के अनुसार नहीं है। प्रभु में विश्वासियों के तौर पर, हमें उसकी शिक्षाओं को अभ्यास में लाना चाहिए। हमें दूसरों से अपने समान प्यार करना चाहिए। जब तक कि किसी की मानवता अच्छी है, वह वास्तव में परमेश्वर में विश्वास करता है और सत्य से प्यार करता है, तो वो हमारी प्राथमिकताओं, मिजाज़, चरित्र के साथ संगत हो या ना हो, चाहे हम उसे पसंद करते हों या न करते हों और भले ही वे साधारण भाई बहन हों या कलीसिया के अगुआ हों, हमें ईमानदारी से और निष्पक्षता से उनके साथ व्यवहार करना चाहिए। हमें उनके प्रति सहिष्णुता, धैर्य और प्यार दिखाना चाहिए। हमें धोखाधड़ी और भेदभाव नहीं करना चाहिए। केवल ऐसा करके ही हम परमेश्वर की मंशा के अनुसार होंगे।

2. दूसरों की कमियों और प्रकट की गयी भ्रष्टता को उचित ढंग से सम्बोधित करें। मनमाने ढंग से दूसरों को परिभाषित और उनकी आलोचना ना करें।

यीशु ने कहा: "दोष मत लगाओ कि तुम पर भी दोष न लगाया जाए। क्योंकि जिस प्रकार तुम दोष लगाते हो, उसी प्रकार तुम पर भी दोष लगाया जाएगा; और जिस नाप से तुम नापते हो, उसी नाप से तुम्हारे लिये भी नापा जाएगा" (मत्ती 7:1–2)। प्रभु की शिक्षाओं ने मुझे यह समझने में मदद की है कि हम सभी वो लोग हैं जो शैतान द्वारा भ्रष्ट किये गए हैं। हमारा भ्रष्ट स्वभाव एक जैसा है। अगर दूसरे एक घमंडी, दम्भी, स्वार्थी और घृणित शैतानी स्वभाव प्रकट करते हैं, तो हम भी वही स्वभाव प्रकट कर सकते हैं। हमारे अंदर दूसरों के समान ही कमियाँ हैं। हम दूसरों की तुलना में बेहतर नहीं हैं। अगर हम दूसरों की कमियों और भ्रष्टाचार के कारण उनकी आलोचना करते हैं और उन्हें परिभाषित करते हैं, तो हम वास्तव में घमंडी हैं और स्वयं के बारे में हमें बहुत कम ज्ञान है! इसलिए, दूसरे चाहे जो भ्रष्टाचार और अपराध प्रकट करें उसके बावजूद, हमें उन्हें सही तरीके से संबोधित करना होगा और हमें मनमाने ढंग से उनकी आलोचना और उन्हें परिभाषित नहीं करना चाहिए। पापियों को संबोधित करते समय यीशु का जो रवैया था, जैसा कि बाइबल में लिखा है, उसे याद रखें: फ़रीसी एक व्यभिचारी महिला को पकड़ कर यीशु के सामने लाये। उन्होंने यीशु से पूछा कि इस महिला के साथ कैसा व्यवहार किया जाना चाहिए। उस समय के कानूनों के मुताबिक, महिला की पत्थर मार-मार कर हत्या कर देनी चाहिए थी। हालाँकि, यीशु ने उसे उसके पापों के लिए दोषी नहीं ठहराया। उसने बस उस महिला को भविष्य में पाप ना करने के लिए कहा। (यूहन्ना 8: 3-11 देखें।) इस अवतरण से, हम देख सकते हैं कि यीशु उस दर्द और असहायता को समझता है जिसे वे लोग महसूस करते हैं जिन्हें शैतान द्वारा भ्रष्ट किया गया है और जो पाप में रहते हैं। उसने मनुष्य की कमज़ोरी के प्रति करुणा महसूस की। जब हमने भ्रष्टाचार प्रकट किया है या अपराध किए हैं, तो जब तक हम वास्तव में पश्चाताप करते हैं, परमेश्वर हमें पश्चाताप करने और बदलने के लिए पर्याप्त समय देगा। हमें यीशु के उदाहरण का भी पालन करना चाहिए और अन्य लोगों की कमियों और प्रकट की गयी भ्रष्टता को सही तरीके से संबोधित करना चाहिए। हमें विकास के परिप्रेक्ष्य के माध्यम से दूसरों को देखना चाहिए। यह अन्य लोगों से निपटने का एक सिद्धांत भी है जो ईसाइयों के जीवन में होना चाहिए। यदि अन्य लोगों के लिए हमारी मांगें कठोर हैं, हम बाल की खाल निकालते हैं और मनमाने ढंग से लोगों की आलोचना तक करते हैं, यदि हम लोगों को परिभाषित करते हैं और उनकी कमियों को खोजने के बाद यह निष्कर्ष निकालते हैं कि वे निकम्मे हैं, तो यह दूसरों के साथ निपटने के लिए एक अहंकारी और दम्भी भ्रष्ट स्वभाव का उपयोग करने का एक उदाहरण है। यदि आप ऐसा करते हैं, तो यह परमेश्वर के इरादे के अनुसार नहीं है और आप दूसरों के साथ सामान्य संबंध बिल्कुल नहीं रख पाएंगे।

अब मैं अपने कुछ अनुभव आप सभी को बताती हूँ। हमारी कलीसिया में, एक बहन है जो अपने अविश्वासी पति के कारण समय पर सभाओं में भाग लेने में असमर्थ है। मैंने कई बार इस बहन से बात की थी, लेकिन वह अभी भी नकारात्मकता और कमजोरी में जी रही थी। मैं इस लेकर बहुत नाराज थी और इसलिए मैंने उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। मैं अब और उसकी मदद या सहायता नहीं करना चाहती थी। बाद में, मैंने बाइबल में लिखे ये वचन पढ़े: "खानेवाला न–खानेवाले को तुच्छ न जाने, और न–खानेवाला खानेवाले पर दोष न लगाए; क्योंकि परमेश्‍वर ने उसे ग्रहण किया है। तू कौन है जो दूसरे के सेवक पर दोष लगाता है? उसका स्थिर रहना या गिर जाना उसके स्वामी ही से सम्बन्ध रखता है; वरन् वह स्थिर ही कर दिया जाएगा, क्योंकि प्रभु उसे स्थिर रख सकता है" (रोमियों 14:3-4)। मुझे बहुत शर्मिंदगी महसूस हुयी। मैंने उन समयों के बारे में सोचा जब मैं पराजित, नकारात्मक और कमज़ोर महसूस करती थी। परमेश्वर ने मेरे भाई-बहनों को भावनात्मक रूप से छुआ ताकि वे आगे आएं और परमेश्वर के वचनों को कई बार पढ़कर मुझे सुनाएं। वे मेरी सहायता करने और मुझे सहारा देने के लिए मुझसे बातचीत करते और अपने अनुभव मुझे बताया करते। केवल परमेश्वर के वचनों के मार्गदर्शन से ही मैं दृढ़ता से खड़ी हो पायी। मेरे पास कुछ भी ऐसा नहीं था जिस पर मैं गर्व कर सकती थी। अब, यह बहन अपने पति की बाधाओं के कारण समय पर सभाओं में भाग लेने में असमर्थ थी। मुझे एक प्यार करने वाले दिल के साथ उसकी मदद करनी चाहिए थी, फिर भी मैं इस बहन के जीवन के बारे में चिंतित नहीं थी। मैंने उसे टालने की कोशिश भी की और उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। जब मैंने खुद पर नज़र डाली, तो मुझे लगा कि मैं बहुत अहंकारी थी। मैंने इस बहन के साथ प्यार भरे दिल या धैर्य से व्यवहार नहीं किया। मेरे पास ऐसा कुछ भी नहीं था जो कि परमेश्वर के इरादों के अनुसार था। एक बार जब मैं यह समझ गयी, फिर मैंने परमेश्वर के सामने अपने पाप स्वीकार किए और पश्चाताप किया: मैं इस बहन की मदद करने और सहारा देने के लिए तैयार थी। इसके बाद, मैंने इस बहन को प्यार भरे दिल के साथ परमेश्वर के वचन सुनाये और मैंने अपने कुछ अनुभव और समझ को भी साझा किया। उसके साथ कुछ बार संवाद करने के बाद, वह अब अपने पति के नियंत्रण के अधीन नहीं थी और उसकी स्थितियों में धीरे-धीरे सुधार हुआ। इस अनुभव से मैंने जो सीखा वह यह है कि किसी भी भाई या बहन के अंदर चाहे जो भी कमियां और कमज़ोरियाँ हों, या वे जो भी भ्रष्टाचार प्रकट करें, जब तक कि वे वास्तव में परमेश्वर पर विश्वास करते हैं और जब वे गलती करते हैं तो परमेश्वर के सामने पश्चाताप कर सकते हैं, परमेश्वर उन्हें बदलने का एक अवसर देगा। यही कारण है कि हमें दूसरों की प्यार भरे दिल से मदद करनी चाहिए, उन्हें माफ करना चाहिए और प्रत्येक व्यक्ति के साथ परमेश्वर की अपेक्षाओं के अनुसार व्यवहार करना चाहिए। हमें बिल्कुल भी मनमाने ढंग से अन्य लोगों को परिभाषित नहीं करना चाहिए और उनकी आलोचना नहीं करनी चाहिए। इसी प्रकार से एक व्यक्ति लोगों के साथ समान रूप से और परमेश्वर की मंशा के अनुसार व्यवहार करता है।

3. आपको अन्य लोगों को कम या ज़्यादा करके नहीं आँकना चाहिए। दूसरों की खूबियों से सीखें और अपनी कमियों को दूर करें।

बाइबल कहती है: "विरोध या झूठी बड़ाई के लिये कुछ न करो, पर दीनता से एक दूसरे को अपने से अच्छा समझो" (फिलिप्पियों 2:3)। परमेश्वर ने हममें से प्रत्येक को अलग-अलग क्षमता, प्रतिभा और खूबियां दी है। इस कारण से, अपने भाइयों और बहनों के साथ बातचीत करते समय हमें विनम्र दिल रखना चाहिए और हमें दूसरों की खूबियों और कमियों को सही ढंग से देखना चाहिए। हमें दूसरों को कम या ज़्यादा करके नहीं आँकना चाहिए। हमें दूसरों की खूबियों को ग्रहण करना चाहिए ताकि हम अपनी कमियों को दूर कर सकें। यदि हम अपनी खूबियों, क्षमता और प्रतिभा के कारण दूसरों को नीची दृष्टि से देखते हैं और असीम ढंग से अपनी ताकत बढ़ाते हैं, जिसके माध्यम से हम दिखावा करते हैं और डींगे हाँकते हैं, साथ ही दूसरों की आलोचना करते हैं, नीचा दिखाते हैं और नुकसान पहुंचाते हैं, तो हम अपने अहंकारी और दम्भी भ्रष्ट स्वभाव द्वारा इस प्रकार से नियंत्रित किये जा रहे हैं। एक ईसाई को इस तरह का जीवन नहीं जीना चाहिए। उदाहरण के लिए, पहले, मैं हमेशा सोचती थी कि मेरी खुद की क्षमता अपने साथ काम कर रही एक बहन की तुलना में बेहतर थी, इसलिए मैं उसे नीची दृष्टि से देखती थी। एकसाथ हमारे काम के दौरान, मैं जाने-अनजाने में दिखावा करती थी और मेरा दिल अपने लिए घमंड से भरा हुआ था। मेरे भ्रष्ट स्वभाव के कारण परमेश्वर को मुझसे घृणा हो गयी और इसके कारण परमेश्वर ने मेरी ओर से अपना मुँह मोड़ लिया। मेरी आत्मा अँधेरी और निराशापूर्ण हो गई। मेरे काम में कई स्पष्ट समस्याएं थीं जिन्हें मैं खोज पाने में असमर्थ थी, जबकि इस बहन का काम धीरे-धीरे बेहतर होता चला गया। मैंने उस बारे में सोचा जो यीशु ने कहा था: "जो कोई अपने आप को बड़ा बनाएगा, वह छोटा किया जाएगा: और जो कोई अपने आपको छोटा बनाएगा, वह बड़ा किया जाएगा" (मत्ती 23:12)। इसी समय मैंने देखा कि मैं कितनी अहंकारी थी। मैं खुद से अवगत नहीं थी। असल में, यह पवित्र आत्मा के काम के कारण है कि मेरे काम ने कुछ परिणाम उत्पन्न किये थे या मैं कुछ समस्याओं को खोजने में सक्षम थी। हालाँकि, मैंने अभी भी परमेश्वर का सम्मान चुराया था और मैं बेहद आत्मतुष्ट थी और अपने खुद के अहंकार की प्रशंसा करती थी। मैं अपने साथी भाइयों और बहनों को नीची दृष्टि से देखती थी। हकीकत में, मैं बहुत ही अविवेकी थी! साथ ही, मुझे पता था कि मुझे खुद को कैसे जाने देना है यह सीखने की जरूरत है। मुझे अपनी कमियों को दूर करने के लिए उस बहन की खूबियों को खुले दिमाग से आत्मसात करना था। केवल अगर मैंने ऐसा किया तभी परमेश्वर प्रसन्न होगा और मेरा जीवन लगातार बढ़ेगा। नतीजतन, मैंने ऐसा करना शुरू कर दिया। जब ऐसी समस्याएं आतीं जिन्हें मैं समझ नहीं पाती थी, तो मैं उस बहन से उसकी सलाह माँगती। अगर मैं मुद्दों का सामना करती, तो मैं उनके साथ उन पर चर्चा करती। तब मैंने पाया कि वास्तव में उसमें ऐसी कई खूबियां थीं जिनका मुझमें अभाव था। मेरे दिल ने बहुत अपमानित महसूस किया। मैं यह भी समझ गयी कि परमेश्वर ने ऐसी व्यवस्था की थी कि मैं इस बहन के साथ काम करूँ क्योंकि वह चाहता था कि मैं अपनी कमियों को दूर करूँ। वह चाहता था कि जो काम उसने हमें सौंपा था उसको करने के लिए हम सामंजस्यपूर्ण रूप से सहयोग करें। धीरे-धीरे, इस बहन के साथ मेरा रिश्ता सामान्य हो गया और मुझे एक बार फिर पवित्र आत्मा का काम प्राप्त हुआ।

4. जब आप यह पाते हैं कि अन्य लोग ऐसी चीज़ें करते हैं जो आपके विचारों से मेल नहीं खाती हैं, तो दूसरे व्यक्ति पर अपनी नज़रें न गड़ायें। इसके बजाय, आपको पहले खुद को पहचानना चहिये और सत्य का अभ्यास करना चाहिये।

यीशु ने कहा: "तू क्यों अपने भाई की आँख के तिनके को देखता है, और अपनी आँख का लट्ठा तुझे नहीं सूझता? जब तेरी ही आँख में लट्ठा है, तो तू अपने भाई से कैसे कह सकता है, 'ला मैं तेरी आँख से तिनका निकाल दूँ?' हे कपटी, पहले अपनी आँख में से लट्ठा निकाल ले, तब तू अपने भाई की आँख का तिनका भली भाँति देखकर निकाल सकेगा" (मत्ती 7:3–5)। जब हम दूसरों के साथ बातचीत करते हैं, तो कुछ टकराव और पूर्वाग्रह होना निश्चित है। इन क्षणों पर, हमें इस बात पर ध्यान नहीं देना चाहिए कि दूसरा पक्ष क्या गलत कर रहा है और हमेशा यह नहीं मानना चाहिए कि दूसरे पक्ष की ही गलती है। इसके बजाय, हमें परमेश्वर के सामने आना और परमेश्वर के वचन के भीतर सत्य को तलाशना सीखना चाहिए ताकि हम यह पता लगा सकें कि हमारी अपनी समस्याएं कहाँ हैं। एक बार जब हम परमेश्वर के इरादे को समझ लेते हैं और अपने भ्रष्ट स्वभाव की समझ पा लेते हैं, तो हम खुद को अन्य लोगों की जगह रख कर देख पाएंगे और चीजों को उनके नज़रिए से समझ पाएंगे। हम दूसरों को समझ पायेंगे, उनके साथ सहानुभूति रखने और सहिष्णु होने में सक्षम होंगे। इस बिंदु पर, दूसरों के लिए हमारा पूर्वाग्रह स्वाभाविक रूप से कम हो जाएगा।

इस पहलू के संबंध में मुझे कुछ गहरे अनुभव हुए हैं। मुझे याद है कि एक बहन जिसके साथ मैंने काम किया था, उसने कई बार यह इशारा किया कि कलीसिया के काम के संबंध में मैंने अपना दायित्व नहीं निभाया था। हालाँकि, न केवल मैं इसे परमेश्वर से प्राप्त करने में असमर्थ थी, वास्तव में, मुझे यह भी संदेह था कि यह बहन जान-बूझकर मुझमें मीन-मेख निकाल रही थी और मेरी जिंदगी मुश्किल बना रही थी। मेरे दिल ने इस बहन की तरफ पूर्वाग्रह पैदा करना शुरू कर दिया और अब मैं इस बहन के साथ सेवा नहीं करना चाहती थी। जब मैंने परमेश्वर के वचन को पढ़ा और परमेश्वर की मंशा को ढूंढा, तो मुझे समझ में आया कि मेरा स्वयं का अहंकारी और दम्भी शैतानी स्वभाव मुझे नियंत्रित कर रहा था और मुझे इस बहन के सुझावों को स्वीकारने नहीं दे रहा था। इससे मुझे उसके बारे में संदेह भी हुआ। इसी कारण इस बहन के साथ सामान्य बातचीत करने में मैं असमर्थ हो गयी। साथ ही, मुझे पता था कि जिन लोगों, घटनाओं और चीजों का मैं हर रोज सामना करती थी, सभी परमेश्वर द्वारा निर्देशित और व्यवस्थित थे। यह परमेश्वर था जो सावधानी से इन चीजों को मुझे बदलने और बचाने के लिए व्यवस्थित कर रहा था, न कि वह बहन जानबूझकर मेरे लिए चीजों को मुश्किल बनाना चाहती थी। मुझे परमेश्वर को समर्पण करना चाहिए, खुद को जाने देना और उस बहन के सही सुझावों को स्वीकार करना सीखना चाहिए। इसके बाद, मैं परमेश्वर के सामने गयी और खुद पर विचार किया। बहन के सुझावों से, मैं देख सकती थी कि वास्तव में मैं कलीसिया के काम के संबंध में अपनी जिम्मेदारियों को नहीं उठा रही थी। जो भी अगुवा मेरे लिए करने की व्यवस्था करते थे, मैं वो करती थी, फिर भी मैंने कभी यह नहीं सोचा कि मैं कलीसिया के काम को और भी बेहतर कैसे कर सकती हूँ। एक बार जब मैं परमेश्वर के इरादे को समझ गयी, तो मैं चीजों को परमेश्वर की अपेक्षाओं के अनुरूप करने लगी। मैंने सक्रिय रूप से और खुले दिल से इस बहन के सामने अपना भ्रष्टाचार प्रकट किया और मैंने परमेश्वर से भी मुझे और अधिक ज़िम्मेदारियाँ देने को कहा। जब मैंने परिस्थितियों का सामना किया, तो मैंने इस बारे में और सोचा कि मैं कलीसिया को कैसे लाभ पहुंचा सकती हूँ। जब मैं चीजों को इस तरह से अभ्यास में लायी, तो एक समय जो गलतफहमी इस बहन के साथ हुआ करती थी वो खत्म हो गयी। हम आध्यात्मिक रूप से जुड़ गये और जो सद्भावना पहले हमारे बीच थी, वो एक बार फिर बहाल हो गयी।

अभ्यास के चार सिद्धांत वे चीजें थीं जिन्हें मैंने अपने अनुभवों से सीखा था। मैंने सचमुच अनुभव किया कि एक ईसाई के जीवन में परमेश्वर का वचन मार्ग दिखाने वाला प्रकाश है। यह हमारे पथ के लिए दिशासूचक है। परमेश्वर के वचन के मार्गदर्शन के बिना, हमारे पास चलने को कोई रास्ता नहीं होगा। हमें बस इतना करना है कि हम परमेश्वर की शिक्षाओं को अभ्यास में लायें और सभी के साथ समान रूप से व्यवहार करें। केवल तभी हम वास्तविक मनुष्य के समान जीवन जीने में सक्षम होंगे, दूसरों के साथ अच्छी तरह से मिल-जुलकर रह पाएंगे, हमारे आस-पास के लोगों को लाभ पाने देंगे, साथ ही, हम परमेश्वर को संतुष्ट करने और हमें सराहने का कारण देंगे।

परमेश्वर के मार्गदर्शन के लिए उसका धन्यवाद। परमेश्वर की महिमा बनी रहे!

संपादक की टिप्पणी: परमेश्वर के प्रबोधन और मार्गदर्शन के कारण, जब तक कि इस निबंध में वर्णित चार सिद्धांतों का कोई अभ्यास करता है, तो मानव संबंधों के विषय में जिन समस्याओं का सामना उसे करना पड़ता है, वे जादुई रूप से गायब हो जाएंगीं। कल्पना कीजिए कि हमारे जीवन कितने बेहतर होंगे यदि हम ईसाईयों के रूप में परमेश्वर के वचनों को अभ्यास में लाने और दूसरों के साथ सामंजस्यपूर्ण ढंग से जीने में सक्षम हों जाएँ! इस तरह का जीवन कोई कहाँ पा सकता है? संपादक की सलाह है कि आप इस ईसाई भजन को सुनें: "परमेश्वर का प्यार हमें एक दूसरे के करीब लाता है"। इस भजन को सुनने के बाद, आपको आपका जवाब मिल जाएगा।

स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया

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

2009 01 20 - 0854 - Washington DC - Union Station - Feet by thisisbossi

[for the full Inauguration story, visit my blog]

Emerging into the lower levels of Union Station's Metro stop, the only way to go was outside – all the direct accesses into the main part of the station were closed off. So I went outside and hooked left to head up to the main entrance. A large crowd was amassed here full of would-be train riders – some destined for Amtrak, some for MARC, some for VRE, and others trying to get to Metro. Police officers walked the banisters calling out information.

It was a bit aggravating as people tried to figure out where which groups were supposed to go. It ultimately ended up that Amtrak went one way and MARC / VRE went another way. Metro folks were out of luck: this station was exit-only and was closed to people trying to get on. It was a bit crazy at first just trying to figure out which mass of people I was supposed to be standing in... and we were all trying to figure that out together. Once we started getting into the right groups, one of the officers led the MARC group in a chant: "MARC! MARC! MARC!" to get other would-be riders to take heed.

There was one slip-up where a guy carrying large signs reading “MARC” with an upward-pointing arrow went walking away from the crowd… and like chasing after the Pied Piper, I and many other would-be MARC riders followed. It was when he kept walking away from the train station and stopped to chat with some police officers when I inquired whether we were supposed to be following the sign, or if he was just moving it about. It was the latter… I really didn’t quite expect that answer, but I was glad I asked.

This event was a blessing in disguise. Seconds later, they started letting some people into the station (the officers were metering entering traffic so it didn’t get too crowded). With me approaching at a different angle, a police car and porta-potty formed a pick and I had almost a clear shot into the now-moving crowd. In all I waited perhaps 10 minutes to get inside, and then another 10 minutes or so inside. It wasn’t bad – I generally felt like I was moving most of that time. With much of the day gone by, the crowd itself was still in good spirits, and almost every person thanked & praised the police staff & volunteers.

Rightly so. Considering the pressure of maintaining security, controlling crowds, and offering directions – all at the same time – I’d say that they really did do a stellar job (except for that hiccup when I first arrived that morning). The force could’ve used some more officers and volunteers to provide & reiterate information, as it was often difficult to hear instructions over the wail of the crowd. Additionally, I found that the volunteers tended to be a bit lacking in information… I suspect they were trained moreso in maintaining their specific locations and duties than offering directions, and I’m sure many came from areas far beyond DC.

It would have also been immensely useful had there been better maps available. WMATA, which runs the Metro services, has an excellent base map, but all they did with it was plot a couple concentric circles to show how far things were – 1 mile, 2 miles, 3 miles. All the other maps coming from the Inauguration Committee or the District were absolutely useless, often so cluttered with information in a jack-of-all-trades map that they became inundated with too much information. Some of the news stations prepared their own maps, but the informal Google Maps mashups just didn’t cut it for the level of detail that was needed. I hope that next time the District and committees make use of WMATA’s map as a base and then tailor-make several maps geared toward specific audiences.

The lines moved more quickly thanks to the fact that the officers & volunteers were just putting people on trains... any trains... You got separated out by Amtrak, VRE, MARC Penn Line, and then MARC Brunswick / Camden Lines. After that, you just boarded whatever train was waiting... didn't matter what train your ticket was for, so long as you were going in the right direction.

Cottage Homes, Fazakerley, 1894 and 2013 by Keith Jones

1

www.childrenscottagehomes.org.uk/fazakerley.html

These cottage homes in Liverpool were built in 1888 and opened on 27th March 1889 by the West Derby Union. They continued to function as children's homes until, according to archive records, 1964.

Fazakerley is an area near to University Hospital Aintree, to the north of Liverpool.

There were 24 cottages in the complex each of which could house up to 25 children - a grand total of 600 children. At the top of the drive was a large clock tower. At some point, perhaps in the 1950s, the cottages were no longer known by their numbers but were given names after flowers or plants - perhaps suggested by what was growing in their gardens.

A quote from a former resident of the cottage homes (from the Liverpool History Society blog)

"I was in the Fazakerley Cottage Homes in about 1961 or 1962. It was the first time my siblings and I had been away from our parents. My mother was ill in hospital and my father couldn't cope with us. I was 7 or 8 at the time and I was placed there with my brother and two sisters. We were looked after by two old ladies (I can't remember their names) who were very strict. I had a birthday shortly after being sent there, they did a bit of a special tea for me, but we were not allowed to talk at the table, we ate in silence. I remember my brother being sick because they made him eat tinned spaghetti which he hated, then they shouted at him for being sick! Then said "he couldn't have his cake either" as punishment. I remember being forced to wear shoes that were way too small for me as they didn't have any to fit me, and they wouldn't buy any, as the place was due to be closed. I subsequently ended up with deformed toes (hammer toes, I think they're called).The only positive memory I have of the Homes is that one of the ladies taught me to embroider. I used to sit at her feet while she taught me different stiches."

All these photos can also be seen on my new Facebook page...

www.facebook.com/LiverpoolThenAndNow

Please feel free to add any comments, corrections, additional info or memories you may have, and if you know anyone else who might be interested, please feel free to let them know about it.

I have contacted the owners of as many 'original' photos as I can to ask their permission to use it in this way, and where they have requested it, I have credited them accordingly. However, if you are the copyright holder and I haven't yet been able to contact you, please do get in touch and I'd be happy to add any details, credits or links, or remove the photo if you wished..

Thanks for looking, I hope they are of some interest!

BERLIN BIENNALE #BB8 CAR WASH and debate on GLOBAL WARMING by Thierry Geoffroy / Colonel : Artist

performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.

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

academy-emergency-art.blogspot.dk/2014/05/why-should-berl...

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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?

ARE BIENNALES DANGEROUS ?

Art Formats : ( including Emergency Art )

Biennalist:

www.andynoise.com/kernxcinvite08.html

www.colonel.dk

THE EMERGENCY WILL REPLACE THE CONTEMPORARY

-------

----more about Berlin Biennale ---#BB8

Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art

KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.

Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).

The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.

Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.

Curators have been:

1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist

2nd Berlin Biennale (2001): Saskia Bos

3rd Berlin Biennale (2004): Ute Meta Bauer

4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic

6th Berlin Biennale (2010): Kathrin Rhomberg

7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza

The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).

The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

KW Institute for Contemporary Art

Berlin Biennale für zeitgenössische Kunst

Auguststraße 69

#BB8

---artists participating ---

52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.

Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.

kern invite 08 - jv by AndyNoise.Com

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

JV Boys - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tino Romero 11:17.25 1 1 1

2. Wasco Oscar Gomez 11:26.11 2 2 1

3. East Marc Sotello 11:26.90 3 x 1

4. Shafter Matthew Yanez 11:34.14 4 x 1

5. McFarland Grenardo Garcia 11:34.63 5 x 1

6. Highland Juan Delgado 11:37.47 6 3 1

7. Centennial Brandon Ballard 11:38.17 7 4 1

8. Ridgeview Ernesto Castillo 11:38.94 8 5 2

9. Shafter Elias Picazo 11:40.09 9 x 2

10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3

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

12. East Felix Trevino 11:51.62 12 x 2

13. Ridgeview Tree Hoisson 11:52.34 13 8 4

14. Stockdale Raymon Griggs 11:52.62 14 9 1

15. Highland Rafael Alcaraz 11:53.30 15 10 2

16. East Esteban Vargas 11:54.83 16 x 3

17. McFarland Adam Marquez 11:56.93 17 x 2

18. Frontier Corry Harris 12:02.24 18 11 1

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

20. Highland Jo Dixon 12:05.53 20 13 4

21. Centennial Nick Trieberg 12:06.03 21 14 2

22. Highland Daniel Espinosa 12:07.15 22 15 5

23. Foothill Cesar Espinosa 12:10.84 23 16 1

24. Highland Ernan Lopez 12:18.78 24 17 6

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

26. Stockdale Andrew Worth 12:26.63 26 19 3

27. Foothill Jovani Pineda 12:32.47 27 20 2

28. Centennial Jake Smoot 12:33.35 28 21 3

29. Foothill Robert Guillen 12:36.97 29 22 3

30. Garces Jose Lopez 12:37.53 30 23 1

31. Highland Pablo Santiago 12:38.23 31 24 7

32. Ridgeview Ian Dowot 12:38.71 32 25 5

33. Frontier Ramon Sanchez 12:42.97 33 26 2

34. Foothill Peter Reyna 12:45.32 34 27 4

35. Ridgeview Hector Garay 12:45.76 35 28 6

36. Frontier Brian Cisneros 12:46.11 36 29 3

37. Stockdale Cornelius Sockey 12:49.24 37 30 4

38. Stockdale Nick Haley 12:49.57 38 31 5

39. Frontier Christopher Bedke 12:51.77 39 32 4

40. Frontier Chris Corral 12:52.80 40 33 5

41. Centennial CJ Carr 12:55.06 41 34 4

42. Ridgeview Arty Sanchez 12:55.60 42 35 7

43. Garces Dominic Gallegos 12:56.21 43 36 2

44. Foothill Oscar Rivera 12:57.02 44 37 5

45. Shafter Jonatan Lopez 12:59.96 45 x 3

46. Stockdale Evan Szablowsk 13:01.10 46 38 6

47. BHS Hector Sanchez 13:02.38 47 39 1

48. Foothill Guillermo Cisneros 13:05.95 48 40 6

49. Stockdale Jit Malay 13:06.90 49 41 7

50. Highland Nick Lopez 13:07.10 50 42 8

51. Centennial Craig Varner 13:15.59 51 43 5

52. Highland Tyler Dunlap 13:20.14 52 44 9

53. Stockdale Davis McLeod 13:20.73 53 45 8

54. Foothill Luis Garcia 13:22.06 54 46 7

55. Shafter Miguel Sanchez 13:23.34 55 x 4

56. Independence Curtis Valencia 13:25.34 56 47 1

57. Wasco Kyle Bearley 13:26.41 57 48 3

58. Ridgeview Martin Oropeza 13:27.08 58 49 8

59. Frontier Chris Mount 13:28.88 59 50 6

60. Wasco Anthony Ramirez 13:29.86 60 51 4

61. Frontier Jairo Garcia 13:34.10 61 52 7

62. Stockdale Kevin Chun 13:37.01 62 53 9

63. Foothill Marcos Sandoval 13:38.55 63 54 8

64. Arvin Jose Rodriguez 13:39.04 64 x 1

65. Frontier Steven Saenz 13:39.36 65 55 8

66. Stockdale John Bracamant 13:40.57 66 56 10

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

68. Stockdale Adrian Esquivas 13:45.00 68 58 11

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

70. BHS Josh Harbin 13:49.65 70 60 2

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

72. Stockdale Eric Jorgensen 13:56.96 72 61 13

73. Garces Anthony Martinez 14:05.99 73 62 3

74. Arvin Rodger Tabada 14:15.08 74 x 2

75. Stockdale Phillip Radon 14:16.70 75 63 14

76. Stockdale Landon Medina 14:18.10 76 64 15

77. East Donald Sanchez 14:18.32 77 x 4

78. Frontier Spencer Cordova 14:25.94 78 65 9

79. Frontier Matt Walker 14:32.16 79 66 10

80. Wasco Arturo Miranda 14:32.82 80 67 6

81. Highland Luis Lopez 14:36.85 81 68 10

82. Independence Devin Lane 14:43.22 82 69 2

83. Garces Sterling Garza 14:43.64 83 70 4

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

85. Stockdale Joshua Le 14:45.99 85 71 16

86. Independence Michael Gallarza 14:46.50 86 72 3

87. Foothill William Saavedra 14:48.22 87 73 9

88. BHS Trevor Dalke 14:48.96 88 74 3

89. Independence Andrew Cruz 14:57.45 89 75 4

90. Highland Alex Harrell 15:01.62 90 76 11

91. BHS Wesley Elrich 15:02.07 91 77 4

92. Frontier Jason Phillips 15:02.54 92 78 11

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

94. Highland Estevan Espinoza 15:06.66 94 80 12

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

96. Foothill AJ Lara 15:09.07 96 81 11

97. Centennial Jarod Kashwer 15:13.28 97 82 9

98. Highland Ryan Gonzalez 15:28.65 98 83 13

99. BHS Andres Eagleson 15:35.28 99 84 5

100. Frontier Kevin Sanchez 15:41.75 100 85 12

101. Centennial Brent Williams 15:46.70 101 86 10

102. Ridgeview Eric Jacques 15:46.93 102 87 9

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

104. Foothill Jose Mejia 16:22.51 104 89 12

105. Independence Sky Payne 16:38.36 105 90 5

106. Foothill Logan Power 20:16.50 106 91 13

107. Arvin Oswaldo Leyva 24:45.86 107 x 3

108. North Sonny Medina 25:53.00 108 x 1

A view of eruptions of Clepsydra and Spasm Geysers from a distance of 150 yards (approx.) on Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA- 6 by Biswarup Sarkar

1

Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA

Map (link):

[ www.google.co.in/imgres?imgurl=https://4.bp.blogspot.com/... and Spasm Geysers, Fountain Paint Pot trail, Yellowstone National Park images&ved=0ahUKEwjkgubQv8XeAhUC3Y8KHaFRCQ8QMwhNKBowGg&iact=mrc&uact=8 ]

This part of Lower Geyser Basin seen from a half-mile trail has all four of the hydrothermal features found in the park:

Clepsydra Geyser is a geyser in the Lower Geyser Basin of Yellowstone National Park. Clepsydra plays nearly continuously to heights of 45 feet. The name Clepsydra is derived from the Greek word for water clock. Prior to the 1959 Hebgen Lake earthquake, it erupted regularly every three minutes.

Yellowstone National Park has several hydrothermal areas, so what makes the Fountain Paint Pot Area worth visiting? For starters, this part of Lower Geyser Basin has all four of the hydrothermal features found in the park (mudpots, geysers, hot springs, and fumaroles) and you can see them all from a compact half-mile long boardwalk loop. While none of the many Fountain Paint Pot Area geysers are as famous as Old Faithful, they erupt so frequently that you are almost guaranteed a great show on your short hike. Since the walkway passes all four of Yellowstone’s hydrothermal formations, the hike comes with a guaranteed lesson in hydrothermal volcanism.

Hiking the loop in a clockwise direction, you will first pass through a forest of lodgepole pine snags that were drowned and left lifeless by the surrounding hot springs. As you approach the northwest end of the loop, you will spot a lively collection of geysers. Clepsydra Geyser, Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, Spasm Geyser, and Twig Geyser erupt with various levels of regularity.

As you progress around the walkway toward the northeast corner, you will pass Red Spouter, which behaves like a fumarole, a hot spring, and a mudpot throughout the year. It is like a hot spring in the winter, a muddy reddish pool in the spring and a steaming fumarole in the drier summer and fall. Wrapping down the east side of the boardwalk, you will pass Leather Pool and a slope of fumaroles. These gaps in the surface whistle and hiss as gasses and steam escape from the ground. Just below the fumaroles, where a little more water is present, the trail circles Fountain Paint Pot. These mudpots bubble and pop as globs of mud springs from the surface like miniature trapeze artists.

Continuing downhill, the hydrothermal features become even wetter as you arrive at Silex Spring. Look down into the small blue pool rimmed with white silica. Water spills over the sides of the spring creating an orange-colored surface covered in rippling runoff. These colors are created by thermophiles, heat-loving microorganisms that live in Yellowstone’s hot springs.

( www.hikespeak.com/trails/fountain-paint-pot-trail-yellows... )

Geothermal features of Yellowstone NP- A brief note:

There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.

What is a Hot spring?

Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.

Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.

But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.

[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].

List of hot springs:

[ en.wikipedia.org/wiki/List_of_hot_springs ]

The science of colors of a hot spring:

[ ttps://www.britannica.com/science/hot-spring]

Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.

Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.

What is a Geyser?

A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.

What is a fumarole?

It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.

Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]

What is a mud volcano/ mud pot/ paint pot?

Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.

Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).

If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).

There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.

Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.

A quick overview of YNP

Yellowstone National Park is an American national park located in Wyoming, Montana, and Idaho. Approximately 96 percent of the land area of Yellowstone National Park is located within the state of Wyoming. The Park spans an area of 8,983 km2 comprising lakes, canyons, rivers and mountain ranges. The park is known for its wildlife and its many geothermal features. It has many types of ecosystems, but the subalpine forest is the most abundant. It is part of the South Central Rockies forests eco-region.

It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. Native Americans have lived in the Yellowstone region for at least 11,000 years. Aside from visits by mountain -men during the early to mid-19th century, organized exploration did not begin until the late 1860s.

The park contains the headwaters of the Yellowstone River, from which it takes its historical name. Although it is commonly believed that the river was named for the yellow rocks seen in the ‘Grand Canyon of the Yellowstone’, the Native American name source is unclear.

Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest supervolcano on the continent. The caldera is considered as an active volcano. It has erupted with tremendous force several times in the last two million year. The Yellowstone Caldera is the largest volcanic system in North America. It has been termed a "supervolcano" because the caldera was formed by exceptionally large explosive eruptions. The magma chamber that lies under Yellowstone is estimated to be a single connected chamber, about 60 km long, 29 km wide, and 5 to 12 km deep. Yellowstone Lake is up to 400 feet deep and has 180 km of shoreline.The lake is at an elevation of 7,733 feet above sea levels. Half of the world's geysers and hydrothermal features are there in Yellowstone, fueled by this ongoing volcanism. Lava and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly-intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.

In May 2001, the U.S. Geological Survey, Yellowstone National Park, and the University of Utah created the Yellowstone Volcano Observatory (YVO), a partnership for long-term monitoring of the geological processes of the Yellowstone Plateau volcanic field, for disseminating information concerning the potential hazards of this geologically active region.

Hundreds of species of mammals, birds, fish, and reptiles have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous mega fauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.

Forest fires occur in the park each year. In the largest forest fires of 1988, nearly one third of the park was burnt.

Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.

Fire in Yellowstone NP:

Causes of wildfire in Yellowstone NP

Wildfire has had a role in the dynamics of Yellowstone’s ecosystems for thousands of years. Although many fires were caused by human activities, most ignitions were natural. The term "natural ignition" usually refers to a lightning strike. Afternoon thunderstorms occur frequently in the northern Rocky Mountains but release little precipitation, a condition known as ‘dry lightning’. In a typical season there are thousands of lightning strikes in Yellowstone. Lightning strikes are powerful enough to rip strips of bark off of a tree in a shower of sparks and blow the pieces up to 100 feet away. However, most lightning strikes do not result in a wildfire because fuels are not in a combustible state.

The great fire incidence of 1988

The Yellowstone fires of 1988 collectively formed the largest wildfire in the recorded history of Yellowstone National Park in the United States. Starting as many smaller individual fires, the flames quickly spread out of control due to drought conditions and increasing winds, combining into one large conflagration which burned for several months. The fires almost destroyed two major visitor destinations and, on September 8, 1988, the entire park closed to all non-emergency personnel for the first time in its history. Only the arrival of cool and moist weather in the late autumn brought the fires to an end. A total of 793,880 acres, or 36 percent of the park was affected by the wildfires.

Fire incidence, 2016

As of September 21, 2016, 22 fires (human and lightning-caused) have burned more than 62,000 acres in Yellowstone National Park, making it the highest number of acres burned since the historic 1988 fire.

Heritage and Research Center

The Heritage and Research Center is located at Gardiner, Montana, near the north entrance to the park. The center is home to the Yellowstone National Park's museum collection, archives, research library, historian, archeology lab, and herbarium. The Yellowstone National Park Archives maintain collections of historical records of Yellowstone and the National Park Service. The collection includes the administrative records of Yellowstone, as well as resource management records, records from major projects, and donated manuscripts and personal papers. The archives are affiliated with the National Archives and Records Administration.

Exctracteur Format @Venice Biennale 2011 . by Biennalist 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.

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

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

en.wikipedia.org/wiki/Thierry_Geoffroy

www.colonel.dk/

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.

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links about Biennalist :

Thierry Geoffroy/Colonel:

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