html photos on Flickr

Biennalist @Venice Biennale by Thierry Geoffroy / Colonel : Artist

BIENNALIST @ Venice Biennale

www.emergencyrooms.org/biennalist.html

by www.colonel.dk and www.emergencyrooms.org

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

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

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

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

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

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

----------

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

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

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

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

other Biennale :(Biennials ) :

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

* Dakar

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

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

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

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

#biennalevenice

Institutional Critique

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

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

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

Culture, Collective History, Group of Portraits, Photographic Source

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

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

Personal Histories, Alter Egos and Avatars

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

, Photographic Source

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

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

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

Maestroarena - Muebles de oficina by Surenore

5 1

muebles de oficina

sillas de oficina

divisiones de oficina

interiorismo de oficinas

contract muebles

Savannah River Bluffs Heritage Preserve - River by hangglide

5 1

See the Savannah River Bluffs Heritage Preserve in an interactive view (requires shockwave - a free, one-time, automatic download).

Camera: Nikon D100

Lense: AF-S DX Nikkor 18-70 mm f/3.5-4.5G IF-ED

Tripod: Manfrotto

Tripod head: Manfrotto 322RC2 Tripod Head with Nodal Ninja

Photos: 9 + 9 + 9 + 2 = 29 photos (three rows plus zenith and nadir)

Software: Stitched with PTGui (but warped with Panorama Tools); Blended with Enblend plugin; No photoshop

Original Image: 10,000 x 5,000 pixels; 27.5 MB

PaperMonster Print x DirtyPilot "Year One Rewind" Deluxe Edition Book by Paper Monster

4 1

For More Visit:

www.dirtypilot.com/dp-book-rewind.html

or

papermonster.wordpress.com

DirtyPilot.com is releasing our first hardcover book

Titled “YEAR ONE REWIND” each Deluxe Edition Book will be signed by various artists

(at random) and will also come with your choice of one of 3 limited edition prints

GHOST Print - 8″x10″, archival Pigment print, hand signed and numbered. Edition size 50

ALBERT REYES print- 8″x10″, One color silkscreen with hand embellishing. Edition size 50

PAPERMONSTER Print- 8″x10″ 2 color silkscreen, hand stencil embellishing. Edition size 50

Year One Rewind featured artists include up and coming talents along with established artists, such as Chris “Daze” Ellis, Kime Buzzelli, Bravo Jet, Albert Reyes, Papermonster, Chris Stain, Ghost, Ewok 5MH, Cern YMI, Dennis McNett, Greg Gossel, Stephen Tompkins, Enrique Martinez, Justin Bua, Michael Krueger and Daniel Johnston

A sturdy, 96 page hardcover compellation of shows, Dirtypilot.com Year One Rewind dedicates from two to six pages of illustrations of each showcased artist as well as the dates the artists showed their work on Dirtypilot.com. It also delivers biographical sketches on each contributor. The book’s introduction by offers insightful background information on the origin and focal point of the Dirtypilot site. If you’re passionate about urban art and urban artists and want to learn more, Dirtypilot.com Year One Rewind is a visual treasure trove for collectors that you won’t want to be without

Co- Published and Distrubuted by Last Gasp

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

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

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

www.emergencyrooms.org/biennalist.html

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

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

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

www.emergencyrooms.org

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

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

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

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...

BRUNO PREMIANI

Doom Patrol 93

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

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

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

He is believed to have died in Argentina in 1984.

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

davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html

Bruno Premiani

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

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

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

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

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

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

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

lambiek.net/artists/p/premiani_bruno.htm

documenta kassel 2022 by Thierry Geoffroy / Colonel : Artist

Collaboration beetween Biennalist and Ultracontemporay

Art Format

www.emergencyrooms.org/formats.html

Documenta From Wikipedia,

The Fridericianum during documenta (13)

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

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

Etymology of documenta

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

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

History

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

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

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

Criticism

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

Directors

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

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

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

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

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

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

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

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

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

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

891.500 in Kassel

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

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

Venues

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

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

Rahmenbau (1977) by Haus Rucker und Co.

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

documenta archive

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

Management

Visitors

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

References

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

other biennales :

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

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

www.emergencyrooms.org

www.colonel.dk/

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

Biennalist @ Venice Biennale by Thierry Geoffroy / Colonel : Artist

BIENNALIST @ Venice Biennale

www.emergencyrooms.org/biennalist.html

by www.colonel.dk and www.emergencyrooms.org

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

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

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

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

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

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

----------

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

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

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

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

other Biennale :(Biennials ) :

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

* Dakar

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

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

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

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

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

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

#biennalevenice

Institutional Critique

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

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

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

Culture, Collective History, Group of Portraits, Photographic Source

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

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

Personal Histories, Alter Egos and Avatars

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

, Photographic Source

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

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

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

image by Alberto

Blog entry.

Frida by Thomas Hawk

20 10

You can read more about my $2 Portrait Project here.

Earlier today while shooting Derek up in the Tenderloin District, I ran into Frida. Frida asked if she could sit for a portrait as well and I told her more about my $2 Portrait Project and she said ok.

Frida was born and raised in San Francisco. I asked Frida if she had any kids and she told me she did. She said she had 11 of them. The oldest one was 26 she said and the youngest was 6. She also said she had 10 grandkids.

Frida told me that one of her sons had just almost been killed last month but that God saved him. She said that he was shot in a case of mistaken identity by someone when he was coming out of his house. Thank God he saved him for us she said. I asked Frida if she saw her children a lot and she smiled back and said every day.

Frida told me that she had her 11 different children with 3 different men. Two were Puerto Rican, she added. Frida told me that all three of the men were dead now.

Frida and I talked a bit about her being out on the street. She told me that she had had an alcohol problem but that she was over it now and better. She told me that it was hard work being out on the street. She said that a lot of people will just rush right past her saying "get a job." She said what they didn't understand was that this *was* her job. That asking people for money is a lot of hard work. Especially for a woman she added. "All the time men are coming up to me and saying 'Hey Baby,'" she told me.

I told Frida that I had four kids and she smiled and asked if they were all with the same woman. I told her they were and she laughed and said, oh well, not me.

Frida was a friendly woman who smiled a lot. She seemed very happy with her life and very proud of her children.

Lỳ fs :x New song Không Thể Thiếu - Jeeboo ft Pý n' F.O.N by F.O.N ... Đường Phố Là Nhà

2 27

rappervn.net/music/download-246489-Khong_The_Thieu_Jeeboo...

Vers 1 : Jeeboo

Ghế đá nơi đây anh nhớ là ta đã từng đến

Lúc đó anh không hề lạnh khi anh có được em ở cạnh bên

Ngắm những vì sao lẻ loi hiu quạnh trên bầu trời cao

Em đâu có biết là khi không em thỳ cõi long anh lạnh ra sao

Xáo trộn lại tất cả mong thời gian quay ngược lại

Để lại được thấy giây phút hạnh phúc chứ không phải cảm giác chia hai

Đôi tay anh lạnh buốt cần em quay về sưởi ấm

Chứ không muốn phải u sầu tiếc nuối kỉ niệm dần xa theo thắng năm

Nhớ lại khi xưa ngồi bên anh em đã từng nói

Sẽ mãi yên anh bên anh nhưng mà thật sự chỉ là những câu nói dối

Anh hận chính bản thân này...tại sao không giữ được em

Để em ra đi rồi lại dằn vặt từng giờ từng phút chống chọi vs màn đem

Anh chán cái cảm giác này,muốn được như ngày xưa

Muốn được cùng em dạo phố đùa giỡn dù bầu trời nắng hay là mưa

Bật khóc trong khoảng lặng hình bong em dần dần hiện ra

Nhưng mà đó do anh tưởng tượng chứ thực sự em đã xa anh rồi mà

Mel : pý

Nhớ nhớ lúc trống vắng

Tay cầm tay đi bên nhau

Mà h đây tình ta mãi xa

Ôm anh trong cơn mơ

Mưa dần trôii đi nơi đâu

Lặng nhìn a rờiiii xa há (x2)

Vers 2 : F.O.N

Đã bao lâu rồi / e bõ anh sống lẻ loi với màn đêm

Cơn đau hòa vào nổi nhớ ngày càng tăng lên nhìu thêm

Nhắm mắt … a tìm hình bóng của em đang đâu đây?

Chẵng muốn thức zấc vì k dám tin e nói câu chia tay

Cố làm tất cả vì chĩ mong dk quay về như quá khứ

Chĩ muốn dk sống cạnh em như vậy có khó quá chứ ?

Thật sự không có em anh không thể nào sống tiếp

Ngày qua ngày / uống cho say cho đôi mắt mau chóng thiếp

Muốn anh và em cùng nhau quay về như ngày xưa

Cùng nhau ra về tan trường cùg nhau vui đùa trong chiều mưa

Tự trách lòng tại sao đôi tay quá yếu k zữ được em

đã để e đi xa còn lại mình anh nhớ e tha thiết trong từng đêm

đêm nay thật dài chĩ còn mình anh làm bạn cụng men say

chuốc cho hết chén nhớ về em khiến khóe mắt cay cay

r` bỗng trong cơn say hình bóng e lại chợt hiện ra

nhưng tất cả chì là hoang tưởng vì em đã xa anh ròi mà

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.

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 )

www.emergencyrooms.org/formats.html

Biennalist:

www.emergencyrooms.org/biennalist.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.

Choquequirao Trek by Cusco Expeditions

1

Choquequirao Trail Peru 4D 3N

Choquequirao ruins was most likely built during the reign of the Inca king Pachacuti Inca Yupanqui and is considered to be the last bastion of resistance and refuge of the Sons of the Sun, who fled from the city of Cusco when it was under siege in 1535. Led by Manco Inca Yupanqui, they took refuge in Choquequirao. Presumably, it was used both a check point to access the Vilcabamba Area and a cultural and religious center. The city played an important role as it was a connection between the Amazon Jungle and the city of Cusco. The region has a lot of microclimates and a landscape full of snow-covered peaks of about 6000m (19685f). Choquequirao trek is the place where yuo'll discover the great citadel of the last inca kings and also you'll rich the betiful ecosystem, choquequirao trekking.

Package Name: Choquequirao Trail Peru

Duration: 4 Days / 3 Nights

Type of Trek: Archaeological, Cultural, ecological and Adventure

Group Size: To suit group requirements

Difficulty degree of this hike: Moderate / Challenge

Departures Day:

- Our company organize daily departures

- All private service departure dates are adapted to your request.

- A minimum of 2 persons is needed for this trek

Activities: Trekking, Camping and Adventure

High Season: April - November

Route: Closed in February

Choquequirao Trek 4D Itinerary:

Day 1: Cusco - Cachora - Chiquisca

We will leave Cusco (3350m/10991f) approximately at 5:30 am. First, we will head for the village Cachora (2850m/9350f) to meet our horsemen and the mules that will carry all the camping equipment during the expedition. Thereafter, we will continue our journey towards the pass of Capuliyoc (2800m/9186f). The trek offers a beautiful view of the mythical mountain Padreyoc, of the deep canyon and of the river Apurímac, meaning “speaking river”. Thereupon, we will descend towards the canyon’s interior named Chiquisca (1930m/6332f), where we will spend the night.

Climate: warm

Hiking time: 7 hours

Day 2: Chiquisca - Playa Rosalina - Marampata - Choquequirao

After breakfast, we will descend to La Playa Rosalina (1550m/5085f). From there, we will continue heading for Marampata (2850m/9350f), where we will have a beautiful view of the archeological complex of Choquequirao (3033m/9951f). Our camping site is located 25 minutes from the settlement.

Climate: both cold and warm

Hiking time: 7 hours

Day 3: Choquequirao - San Ignacio - Carmen

At sunrise, we will first visit the archeological site of Choquequirao. By now, only 30% of this “golden cradle” has been exposed. Thereafter, we will descend to the Apurímac canyon’s deepest part called San Ignacio at 1500m/4921f and have lunch. After that, we will ascend to our camping site in the beautiful gardens of Carmen (2000m/6562f).

Climate: moderate climate with mosquitoes

Hiking time: 6 hours

Note: Due to the ecosystem’s constant changes, this day is considered to be the most beautiful one. Nevertheless, the route from Choquequirao to San Ignacio is at some parts very slippery. Therefore, we ask you to watch your steps carefully. Moreover, we recommend carrying sufficient water with you.

Day 4: Carmen - Manor of Tambo bamba - Huanipaca

The gardens of Carmen are situated close to the manor of Tambo bamba (2500m/8202f), a region having been governed by landowners during the 19th and 20th century and considered to be one of the most fertile valleys to cultivate maize and a variety of potatoes. We will pass little villages such as Pacobamba and Huanipaca (3150m/10335f) and will return to Cusco by bus.

Climate: moderate, warm

Hiking time: 5 hours

Transport time: 5 hours

What is Included:

Private transport from the hotel to the town of Cachora

Entrance fees to Choquequirao

Professional bilingual guide (Spanish and English)

High quality camping equipment (We use professional tents, Doite, Model Kailas 3, extra light/4.5kgs and Doite, Model Himalaya, extra light/4.5kgs, both are big enough for 2 persons. Mattresses, eating tent with table and chairs, bathroom tent)

Meals during the excursion (breakfast, lunch, dinner and snacks / option vegetarian

Cook and cooking equipment

Horseman and mules, for all camping and personal luggage

Emergency horse

First-aid kit, oxygen bottle and safety rope.

What is not Included:

Sleeping bag rent: US$ 5 per day. Our sleeping bags are –8ºC-comfort (0ºF) and mummy form and include a sleeping liner.

Lunch on the last day

Alcoholic drinks

Recomended Things To Take

Sleeping bag (you can rent at Cusco Expeditions office).

Bottle of mineral water.

Rain gear and/or plastic poncho (can be purchase in Cusco).

Hiking boots.

Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.

Flashlight.

Sun block.

Insect repellent.

Toilet paper and garbage bag.

Small towel and bathing suit (hot springs optional).

Camera, extra film and extra batteries.

Snacks, chocolates, energy bars.

Emergency money.

Walking stick (optional).

CALL US We are ready to take your call.

Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307

Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)

Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco

Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)

E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com

MSN: cuscoexpeditions@hotmail.com

Website: www.cuscoexpeditions.com/

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.”

Week 1: Willows at Willow Grove Day Camp by Willow Grove Day Camp

willowgrovedaycamp.com/willows.html

The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.

During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.

Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html

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)

www.emergencyrooms.org/formats.html

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.

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

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

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

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

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

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

Characteristics[edit]

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

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

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

The Venice Biennale as an archetype[edit]

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

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

Biennials after the 1990s[edit]

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

International biennales[edit]

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

Adelaide Biennial of Australian Art, South Australia

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

Athens Biennale, in Athens, Greece

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

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

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

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

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

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

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

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

Biennial of Hawaii Artists

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

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

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

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

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

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

Changwon Sculpture Biennale in Changwon, South Korea

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

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

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

EVA International, biennial in Limerick, Republic of Ireland

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

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

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

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

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

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

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

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

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

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

Moscow Biennale, in Moscow, Russia

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

Mykonos Biennale

Nakanojo Biennale[13]

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

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

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

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

São Paulo Art Biennial, in São Paulo, Brazil

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

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

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

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

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

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

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

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

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

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

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

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

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

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

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

—---Venice Biennale from wikipedia —

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

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

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

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

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

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

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

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

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

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

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

1948–1973[edit]

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

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

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

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

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

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

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

1974–1998[edit]

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

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

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

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

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

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

1999–present[edit]

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

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

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

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

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

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

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

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

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

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

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

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

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

Role in the art market[edit]

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

Central Pavilion and Arsenale[edit]

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

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

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

August 23, 2016 at 08:19AM by Компания Сотдел

окосячка в деревянном доме sotdel.ru/okosyachka-obsada.html #sotdel #окосячка #обсада #сотдел окосячка в деревянном доме Специальный деревянный короб, именуемый и в народе, и в среде специалистов как «окосячка», так и «обсада», состоящий из боковины, вершника, а также подоконной доски или порога, устанавливается в проемы деревянных строений, предназначенные для дверей и окон, чтобы сохранить и окна, и двери в процессе неизбежной усадки деревянных конструкций в целостности. Такова особенность технологии зодчества, при которой дом, баня, другое строение жилого или хозяйственного назначения, предохраняется от возможности смещения брёвен в горизонтальном положении, а сама усадка оконной «коробки» никак не скажется на устойчивости и форме окна. окосячка в деревянном доме Отказ в процессе строительства от окосячки оконных проёмов чреват нарушением нормального функционирование окон. Потому как она защищает оконные рамы и стёкла в них от последствий усадки брёвен и гарантирует нормальное функционирование окон и целостность рам. А, кроме того, исключено появление между брёвнами и рамой трещин и зазоров. окосячка в деревянном доме закажите окосячку для деревяннго дома www.sotdel.ru/okosyachka-obsada.html www.facebook.com/110372909302943/photos/a.298950240445208...

www.sotdel.ru

Первое тюнинг-ателье по загородным домам - отделка фасадов, кровельные работы. Монтаж сайдинга под ключ. Гарантия 5 лет на монтаж сайдинга

Строительные блоки WOODBE из древесины www.sotdel.ru/stroitelnye-bloki-woodbe.html

Панели ДВП (Древесно Волокнистая Плита) www.sotdel.ru/paneli-dvp-drevesno-voloknistaya-plita/

ПАНЕЛИ KMEW fasadnye-panely.sotdel.ru/

Фартук для кухни (Кухонный фартук) www.sotdel.ru/fartuk-dlya-kuhni.html

Москва ул. Верхние Поля, 48а

пн–пт 09:00–18:00; сб 09:00–15:00

+7 (495) 258-62-08

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

kern invite 08 - varsity by ralls by AndyNoise.Com

1

Kern Invite - 11/01/08

Hart Park - Bakersfield, CA

www.andynoise.com/kernxcinvite08.html

Varsity Girls - 2008 Kern County Cross Country

Championships

School Athlete Time Overall Scoring Team

1. Ridgeview Tijerra Lynch 18:58.24 1 1 1

2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1

3. Garces Monica Guzman 19:15.89 3 3 1

4. North Celilia Lopez 19:21.87 4 4 1

5. Ridgeview Ashley Duran 19:23.47 5 5 2

6. Ridgeview Jessica Huizar 19:25.81 6 6 3

7. Foothill Natalie Fernandez 19:35.65 7 7 1

8. East Lucia Garcia 19:46.20 8 x 1

9. Stockdale Amber Nelson 19:59.40 9 8 1

10. Taft Megan Thompson 20:01.34 10 x 1

11. Stockdale Carolin Haney 20:01.70 11 9 2

12. Stockdale Shelbe Pennel 20:03.86 12 10 3

13. Shafter Moriah Milwee 20:05.23 13 11 2

14. Ridgeview Desiree Armendariz 20:08.00 14 12 4

15. Arvin Tanya Hernandez 20:10.02 15 x 1

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

17. BHS Sarah Baker 20:25.37 17 14 1

18. North Medeline Maier 20:29.38 18 15 2

19. Ridgeview Monica Lazo 20:33.39 19 16 5

20. Shafter Lindsee Handel 20:36.70 20 17 3

21. Centennial Jessica Folsom 20:41.80 21 18 1

22. BHS Emily Shuford 20:45.35 22 19 2

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

24. BHS Gabrielle Lerma 21:03.97 24 21 3

25. Stockdale Courtney Moore 21:06.02 25 22 4

26. North Meagan Menzel 21:10.17 26 23 3

27. BHS Gracie Garcia 21:11.76 27 24 4

28. Foothill Perla Veloz 21:13.21 28 25 2

29. Foothill Crystal Rodriguez 21:20.30 29 26 3

30. Independence Katelynn Webb 21:21.51 30 27 1

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

32. Shafter Katerina Plaza 21:27.21 32 29 4

33. North Blanca Perez 21:27.98 33 30 4

34. Wasco Amanda Castellon 21:28.25 34 31 1

35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4

36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1

37. Highland Gabi Rodier 21:34.56 37 34 2

38. Centennial Margaret Martinez 21:35.39 38 35 2

39. Stockdale Cynthia Lopez 21:35.61 39 36 5

40. Centennial Jessica Crowe 21:43.49 40 37 3

41. Highland Hilaria Vasquez 21:43.76 41 38 3

42. North Yadira Perez 21:49.62 42 39 5

43. Foothill Erica Castro 21:53.39 43 40 5

44. Centennial Stephanie Dittman 21:55.56 44 41 4

45. Independence Natalie Ambriz 22:08.45 45 42 2

46. Stockdale Madison Schutzner 22:14.92 46 43 6

47. Highland Katherine Mayberry 22:16.42 47 44 4

48. Centennial Jorey Braughton 22:18.95 48 45 5

49. North Kaylee Meyer 22:20.98 49 46 6

50. Garces Lauren Brown 22:21.19 50 47 2

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

52. Foothill Violeta Quintanar 22:24.92 52 49 6

53. Highland Desiree Martinez 22:25.59 53 50 5

54. Independence Sara Sullivan 22:25.95 54 51 3

55. Garces Lizbeth Lopez 22:28.11 55 52 3

56. Garces Tammy Vu 22:35.68 56 53 4

57. West Selam Habebo 22:39.75 57 x 1

58. Shafter Leana Lara 22:51.69 58 54 5

59. Independence Carlie Croxton 22:55.06 59 55 4

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

61. Foothill Maria Zepeda 22:57.55 61 56 7

62. Garces Marissa Machado 22:57.92 62 57 5

63. Shafter Mayra Torres 23:00.88 63 58 6

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

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

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

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

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

69. Centennial Paige Anderson 23:30.27 69 64 6

70. Garces Sammie Lobardo 23:34.37 70 65 6

71. Arvin Bianca Quinonez 23:41.85 71 x 2

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

73. Frontier Ariel Driskill 23:43.12 73 66 1

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

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

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

77. North Priscilla Cruz 23:55.51 77 69 7

78. BHS Kristina Logan 24:04.10 78 70 5

79. Frontier Jasmine Mattos 24:05.42 79 71 2

80. Stockdale Delilah Diaz 24:10.83 80 72 7

81. West Wennie Agbalog 24:28.90 81 x 2

82. Wasco Anna Orozco 24:29.57 82 73 2

83. Wasco Ruby Jacabo 24:30.22 83 74 3

84. Tehachapi Anna Duke 24:33.57 84 75 2

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

86. Independence Shelby Woolf 24:58.35 86 77 6

87. BHS Sarah Stidham 24:58.76 87 78 6

88. Arvin Gaby Gomez 25:04.17 88 x 3

89. Highland Cristina Valenzuela 25:05.21 89 79 6

90. McFarland Monica Gonzalez 25:42.30 90 x 1

91. Tehachapi Susie Cuevas 25:57.15 91 x 3

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

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

94. BC Tiffany Rodriguez 26:26.77 94 x 1

95. Tehachapi Ariel Deval 26:50.73 95 81 4

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

97. Independence Samantha Antu 27:17.44 97 83 5

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

99. BC Victoria Wheeler 28:09.47 99 x 2

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

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

102. Frontier Savanah Olson 30:18.04 102 87 4

103. Frontier A. Rojas NT 103 88 5

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...

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

Chicago (ILL) Chicago Transit Authority, CTA, South Wells St. " Quincy station " by (vincent desjardins)

www.chicago-l.org/stations/quincy-wells.html

www.youtube.com/watch?v=ppZRpD36ocg&hd=1

Français :

Quincy est une Station du métro de Chicago situé dans le centre-ville de Chicago sur le côté ouest de l'Union Loop dans le secteur communautaire du Loop. Histoire : Conçu par Alfred M. Hedley en bois et en métal estampé, la station Quincy a été ouverte le 3 octobre 1897, elle a conservé une grande partie de son décor d'origine et a été restaurée complètement en 1988 à l’aide des matériaux utilisés à son ouverture. Jusqu’en septembre 1953, Quincy offrait également une correspondance au Wells Street Terminal vers les trains de la Chicago Aurora & Elgin Railroad. Elle est aujourd’hui considérée comme l’un des 150 plus beaux édifices de l’Illinois par l'American Institute of Architects.

english :

Quincy is one of the oldest surviving stations on the Chicago Transit Authority's 'L' system, located in downtown Chicago, Illinois on the Chicago Loop elevated at 220 South Wells Street (directional coordinates 220 south, 200 west). Designed by Alfred M. Hedley from wood and stamped metal, Quincy was opened on October 3, 1897, it retained much of its original decor over the years and was restored in 1988, so that it is considered one of "150 great places in Illinois" by the American Institute of Architects.[2] The station is situated in the South Loop Financial District and is the closest CTA rail station to the Willis Tower, approximately one block west. It is also close to Union Station, the terminal for several Metra and Amtrak routes and about three blocks west of Quincy, although the Clinton station on the Blue Line is much closer.

Quincy is an elevated station, situated above Quincy Street between Adams Street and Jackson Boulevard. It features two side platforms and station houses, one on the west to serve the Outer Loop track, and one on the east to serve the Inner Loop track. Turnstiles for fare payment are located within the station houses on the platform level. The station once had a transfer bridge, but this was removed in the 1980s. This means it is not possible to change from one platform to the other without paying another fare or asking for employee assistance. There are auxiliary rotogate exits to both Adams and Jackson on the Inner Loop platform, while the Outer Loop only has an auxiliary exit to Adams. Both platforms are designed to handle eight-car trains, the longest the CTA 'L' system can run.

Prior to September 1953, the station also featured a walkway to the Wells Street Terminal for convenient transfers to interurban trains of the Chicago Aurora and Elgin Railroad.

As of 2006, Quincy serves the Brown Line (which goes counterclockwise on the Outer Loop) and the Orange and Pink Lines (which go clockwise on the Inner Loop). During weekday rush periods, Purple Line Express trains share the Inner Loop platform with the Pink and Orange Lines.

In the 1980s, Quincy was restored to an appearance much as it would have looked when it opened. Some materials, such as signage, were reproduced although several of the station's features are original to its 1897 opening.

The station served as the backdrop for the music video of Lady Pank's hit "Zawsze Tam Gdzie Ty".

A small bird (and a small, speedy furry animal) kept us company at the top of Mt Toubkal by Mary Loosemore

1

Based on Bonsaibirder's blog, I think it's a rock bunting...

Wednesday 19 February 2014: Neltner Refuge (3207 m / 10522 ft) - Toubkal (جبل توبقال‎) (4167 m / 13671 ft) - Neltner Refuge (3207 m / 10522 ft)

An early rise and shine at the Neltner Refuge - 5.53am alarm, breakfast back down in the dining room at 6.30am ish, donning waterproofs, boots, then outside for crampon lacing and ice axe wrangling (and photos) and we were ready and raring to go on our Mt Toubkal ascent by 7.15am. Beautiful clear blue skies, pristine snow and very cold. We'd had feather patterned ice on the inside of our dorm window this morning.

After a bit of stopping and starting we found our pace, with Hussein-the-guide leading the way and Mohammed bringing up the rear, and eventually splitting into two groups. Strong winds en route brought the temperature down further and whipped up the snow - beautiful but occasionally painful. You needed to keep moving. My ears got very cold (hence the scarf-as-headscarf look in the photos). Towards the top of the valley, the morning sun caught up with us, providing a touch of warmth but making the snowscape very bright. Time to don the Julbo sunglasses (another image element I'd rather be without!).

Just after 11am we reached the head of the valley - Tizi'n'Toubkal (3940 m / 12926 ft) - and were rewarded with a magical view east of misty blue ridges and, somewhere beyond that, the Sahara. Looking behind us we could see the valley we'd climbed through, to the north the path up to the peak - the metal pyramid on top making it easy to identify. A very photogenic stop, and Hussein found us a sheltered spot for a bit of a breather before the final push up and round to the very top of Toubkal.

We summited at 11.45am or there abouts, and once we'd caught our breaths it was time for celebratory snaps, sweets and mélange courtesy of Hussein. Tara, Liz, Denyse and Mohammed arrived about half an hour later accompanied by another group who were carrying skis on their packs, planning to a ski descent. Now that's what I call nuts (but then again, I don't ski....). More photos, plus bread and cheese triangles to celebrate. Beautiful panoramic views under blue skies - who could ask for more?

A speedy descent - due to a combination of taking a more direct path down and gravity, plus the lure of lunch back at the refuge. The wind had dropped and it got hot clad in accumulated thermals. I'd settled on Uniqlo polo neck base layer, M&S thermal top, Mountain Kingdoms fleece, plus my Goretex jacket on top; for bottoms, Icebreaker thermal leggings, Gelert trousers, Tibetan waterproof trews (admittedly a little on the short side) plus gaiters - a lower half look reminiscent of Little Lord Fauntleroy. As I'd absent-mindedly done yesterday's crampon training in my Salomon hiking boots (Women's Sector Mid GTX), I'd worn them again today - my new Scarpas didn't get a look in on this trip. My Mountain Equipment Women's Randonee Mitts were invaluable, as were (Hazel's - thank you...) trekking poles.

We were back at the refuge around 3.30pm, and by 4 o'clock were feasting on a late lunch of pasta, lentils, carrots, peas, cucumber/tomato/red onion/sweetcorn salad, bread and olives, accompanied by lots of tea and rounded off with the zingyest clementines I've ever tasted - it's citrus season, and these are fully ripened, fresh fruit.

As the wood stove warmed the dining room, afternoon tea followed at 5.30pm - paratha-y pancakes drizzled with honey - followed by dinner at 7pm. Bed followed not long after (and a good night's sleep, partly due to escaping last night's condensation drips).

A fantastic day.

PS It looks like we did the South Col / Cwm (Irhzer n'Ikhibi Janoub) route.

Read more on sparklytrainers.com ....

DSC04003_small

Corbel (5) by david.robarts

Our Lady & The English Martyrs, Cambridge

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

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

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

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

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

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

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

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

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

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

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

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

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