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Taken from here, this is a picture of Yuri Gagarin, the Soviet cosmonaut who was the first man in space, fifty years ago today.
Yuri A. Gagarin was born in a village of Klushino near Gzhatsk (now in Smolensk Oblast), Russia, on March 9, 1934. His father was a carpenter. After graduating from secondary school in 1949, Gagarin went to several technical schools before joining the Orenburg Higher Air Force School (Russian Air Force) in 1955. He graduated with honours from the Soviet Air Force Academy in 1957. Soon afterward, he became a military fighter pilot. By 1959, he had been selected for cosmonaut training as part of the first group of USSR cosmonauts. He began his cosmonaut training in 1960, along with 19 other candidates.
Yuri Gagarin flew only one space mission. On April 12, 1961 he became the first human to orbit Earth. Gagarin's spacecraft, Vostok 1, circled Earth at a speed of 27,400 kilometers per hour. The flight lasted 108 minutes. At the highest point, Gagarin was about 327 kilometers above Earth.
Once in orbit, Yuri Gagarin had no control over his spacecraft. Vostok's reentry was controlled by a computer program sending radio commands to the space capsule. Although the controls were locked, a key had been placed in a sealed envelope in case an emergency situation made it necessary for Gagarin to take control. As was planned, Cosmonaut Gagarin ejected after reentry into Earth's atmosphere and landed by parachute.
www.genekeyes.com/world_map_poster.html
Title:Cahill-Keyes Projection, world political map, Atlantic-centered / designed and calculated by Gene Keyes, 1975, 1980, 2011 ; digital version of graticule and code, to transform GIS data, written by Mary Jo Graça ; political world map compiled & produced by Duncan Webb, 2014.
Primary Author(s):Keyes, Gene, cartographer.
Additional Author(s):Graça, Mary Jo, author.
Webb, Duncan, compiler, producer.
Publication:[Berwick, Nova Scotia, Canada] : Gene Keyes, [2014?]
Description:1 map : color ; 73 x 154 cm
Cartographic:Scale 1:27,000,000 (W 180°--E 180°/N 90°--S 90°).
Language:English
Format:Map
Subjects:Cahill, B. J. S.
Projection--Maps.
World maps.
World maps.
Comparative maps.
Summary:"The Cahill-Keyes projection is a polyhedral compromise map projection first proposed by Gene Keyes in 1975. The projection is a refinement of an earlier 1909 projection by Cahill. The projection was designed to achieve a number of desirable characteristics, namely symmetry of component maps (octants), scalability allowing the map to continue to work well even at high resolution, uniformity of geocells, metric-based joining edges, minimized distortion compared to a globe, and an easily understood orientation to enhance general usability and teachability." --Wikipedia, viewed March 1, 2014.
Notes:Relief and depth shown by gradient tints.
"The essence of Cahill-Keyes is total comparability of map to globe: not only every continent (like Cahill), but also every single 1° and 5° geocell (a Keyes refinement)."
Includes notes, text, and accompanying illustrations on the topics of "Use & Construction," "What is Unique about this Map?," "Gene Keyes" and "B.J.S. Cahill," list of abbreviations, and other notes.
"C-ATL-27M-POL-EN-2014."
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This passage is transloading from other blog.
references: guys’s polo ralph lauren brand history introduction
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Nº 6.
Renault 4 Pick-up (1979).
Escala 1/43.
"Mythique R4" - M6 Interactions.
Universal Hobbies.
France.
Año 2008.
More info: cntrois.over-blog.com/article-10966602.html
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"(...) Sur la base de la F6, Renault proposa en 1979 un pick-up fabriqué par Teilhol (également constructeur de la Renault 4 Rodéo sur châssis Renault 4).
Le Renault Express succéda à la Renault 4 F6 en 1985, la fourgonnette F4 continua d'être produite jusqu'en 1988. (...)"
Source: fr.wikipedia.org/wiki/Renault_4
More info: fr.wikipedia.org/wiki/Teilhol
-----------------------------------------------------------------------------------------------
RENAULT 4 PICK UP (1979)
"La versatilidad del Renault 4 permitió construír una pick up derivada del mismo.
El trabajo no estuvo a cargo de la propia Renault sino de una empresa relacionada, ACL-Teilhol, que también fue la encargada de fabricar los utilitarios “Rodeo”, derivados de Renault 4 y 5.
La fábrica estaba situada en la localidad de Arlanc. Llegó a construír nada menos que 60.000 ejemplares de utilitarios derivados de Renault en todas sus variantes.
Las pick ups se construían a partir de la versión furgón 4 F6. Tenían chasis ligeramente alargado y refuerzos en la suspensión, con el agregado de una barra estabilizadora en el eje trasero.
La pick up de Teilhol debutó en julio de 1978.
Poco tiempo después, una reestructuración empresarial de Renault, sumado al hecho de que Teilhol producía vehículos con su propia marca, hizo que se le retirara la licencia para producir la pick up derivada del Renault 4.
Finalmente, en 1986, Teilhol se declaró en quiebra."
Fuente: clasicosenescala.blogspot.com.es/2016/03/renault-4-pick-u...
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Renault 4
"La Renault 4 (couramment appelée 4L) est une petite voiture populaire de grande diffusion de conception simple et pratique. Ce fut aussi la première application de la traction sur une voiture automobile de tourisme de la marque Renault après que cette technique a été adoptée sur l'Estafette en 1958.
Elle est construite d'août 1961 à la fin 1992 dans 28 pays, initialement avec la Dauphine sur l'île Seguin à Boulogne-Billancourt ainsi qu'à l'usine Renault de Flins, en Espagne (par Fasa-Renault), en Argentine par IKA-Renault, en Italie par Alfa Romeo (sous licence), au Maroc, à Madagascar, en Afrique du Sud, puis en Slovénie pour les dernières années de sa production.
La Renault 4 connut un grand succès auprès des PME, des artisans, de la gendarmerie (c'était l'une des voitures françaises de l'époque qui permettait de conduire avec le képi sur la tête), mais également auprès des PTT, de France Télécom ou EdF dans sa version fourgonnette F4 ; ces contrats lui donnèrent une très grande visibilité.
En France, la Renault 4 fut en tête des ventes de 1962 à 1965 (succédant à la Renault Dauphine), puis de 1967 à 1968. Elle reste aujourd'hui [Quand ?] la deuxième voiture française la plus vendue avec 8 135 424 exemplaires derrière la Peugeot 206 et juste devant le duo Renault 9 et 11."
(...)
"Moteurs utilisés sur la Renault 4 au fil des années4 :
- 603 cm3 (49 x 80) : puissance 23 ch et couple de 4,3 mkg. Monté sur R3 (modèles 1962) ;
- 747 cm3 (54,5 x 80) : puissance 27,6 ch à 30 ch et couple de 5,1 à 5,6 mkg ;
- 782 cm3 (55 x 80) à partir des modèles 1972 : puissance 30 ch et couple de 5,4 mkg ;
- 845 cm3 (58 x 80) avec option 5 CV : puissance 30 ch et couple de 5,9 mkg. Montée en série pour 1983 ;
- 956 cm3 (65 x 72) : puissance 34 ch et couple de 6,2 mkg. Monté sur les derniers modèles TL Savane à partir de mai 1986 ;
- 1 108 cm3 (70 x 72) : puissance 34 ch et couple de 7,5 mkg. Équipe en série la 4 GTL à partir du début 1978."
(...)
Versions
- La R3
"La R3 est une déclinaison économique avec le petit « moteur Billancourt » de 603 cm³ « sous-alésé » dérivé du moteur de la 4 CV. (...) Elle ne fut produite que de 1961 à 1962, le nombre total d'exemplaires construits varie selon les estimations entre 2 526 et 2 571, ce qui en fait un modèle extrêmement recherché par les collectionneurs aujourd'hui."
- La R4 L
"À côté de la R3 et de la R4 de base — sensiblement équivalente à la R3 dans sa présentation — il existait une déclinaison « Luxe » dite R4 L, elle se caractérisait par sa troisième vitre latérale et différents accessoires et baguettes inox, qui la rendait plus luxueuse.
Cette version, qui s'appela bientôt R4 L Export, fut la plus vendue. À tel point que l'appellation générique de la Renault 4 deviendra progressivement 4L. Par rapport à la version de base, qui possédait des sièges du type « strapontins suspendus » de même type que la 2 CV, la R4 L Export possédait des sièges plus élaborés et plus confortables (séparés à l'avant) et une banquette arrière rabattable."
- La Parisienne (1963)
- Les R4 Export, 4 TL et TL Savane
"Hormis le modèle de base, la Renault traverse la fin des années 1960 et les années 1970 sous la forme de la R4 « Export », qui devint la 4 TL pour 1976. (...)
En 1986, le modèle TL est rebaptisé « TL Savane » (...) En 1989, Renault équipe ce modèle du « pack sécurité » (...) "
- La 4 GTL
"Début 1978, la 4 GTL reprend la formule qui a fait le succès de la Renault 5 GTL : un gros « moteur Cléon-Fonte » de 1 108 cm3 retravaillé pour consommer moins (5,4 litres aux 100) et des bandes de protection latérales grises avec pare-chocs et crosses avant assortis. La version GTL supplantera rapidement la 4 TL.
En mai 1986, lors du remaniement de la gamme, la GTL devient « GTL Clan », (...)
En 1989, Renault revient à de plus banales jantes tôles, et équipe ce modèle du même « pack sécurité » que la version TL Savane.
Trop âgée pour pouvoir respecter les normes antipollution qui doivent arriver en 1993 (pot catalytique obligatoire), la production de Renault 4 est arrêtée fin 1992 avec une série « Bye-Bye » de R4 GTL Clan, des modèles numérotés de 1 à 1 000 devenus collectors."
- Séries spéciales
"Dès le début de la production, Renault propose des modèles à diffusion limitées, afin de relancer les ventes, ou encore rajeunir l'image de la voiture. Plusieurs séries spéciales sont ainsi créées : la « Safari » (1976), la « Jogging » (1981), la « Sixties » (1985) avec sa sellerie flashy et ses deux toits ouvrants, la « Carte jeune » (1991)...
Durant les années 1960, d'autres modèles nettement plus rares ont été produits, tels la « Plein air », la « Parisienne » ou encore des adaptations 4x4 produites par Sinpar."
(...)
Source: fr.wikipedia.org/wiki/Renault_4
More info:
www.renaultclassiccarclub.com/ModelsRegister/r4_history.html
la4ldesylvie.fr/index.php?option=com_content&view=art...
www.renaultownersclub.com/downloads/Renault_HC_50_years_R...
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50 aniversario del Renault 4L en España [1964-2014]
Emilio Salmoral
Periodista especializado en el mundo del motor. Colaborador en AUTO BILD
02/05/2014 - 10:35
"Aunque el Renault 4L llevaba fabricándose desde finales de 1963 (se hicieron 250 unidades), hasta el año siguiente no comenzaron las primeras entregas a los clientes.
Pero el Renault 4 no era un coche desconocido, ya que llevaba desde 1961 fabricándose en Francia.
Es posible que circularan algunas unidades construidas en el país vecino, pero tuvieron que pasar tres años para fabricar en España.
Por cierto, en Portugal también se construyó en la planta de Guarda y los aficionados sienten devoción por él.
Respecto a la versión francesa, el Renault 4L de FASA es diferente. Los parachoques son de un diseño distinto y tiene una especie de bigote en la placa de la matrícula posterior. Además, los coches españoles tampoco tienen los intermitentes laterales que sí tenían los franceses.
La historia nos ha demostrado que lo que buscaban los ingenieros españoles era, sobre todo, una mecánica con mayores capacidades. Por ello, nuestro 4L utilizó un motor de 845 centímetros cúbicos y 30 CV de potencia con los que podía ofrecer unas capacidades dinámicas superiores que los del 0,7 litros que también se vendía en Francia como versión de acceso.
Asimismo, todos los coches comercializados en España tienen un sistema eléctrico de 12 voltios que permite una mayor iluminación.
En 1965, Renault lanza al mercado la versión Super que ofrecía a su conductor unos asientos más lujosos y en 1967 empieza a utilizar los paragolpes del Renault 8."
(...)
"En 1968 se introduce al mercado el primer restyling del Renault 4. Las principales diferencias son una parrilla totalmente nueva que se hace evidente en todo el frontal del vehículo.
Pero los mayores cambios se encuentran en la mecánica: el R4 abandona el motor originario del 4/4 y estrena el tipo Sierra del Renault 8 que ofrecía una elevadísima fiabilidad. Con este bloque, la potencia se incrementó hasta los 35 CV. También era muy alabado por los conductores de su época el excelente sincronizado de su caja de cambios.
Así se mantuvo el Renault 4 hasta que en 1978 se sometió a su segunda puesta al día. La bonita parrilla de aluminio dejó paso a una de plástico; los intermitentes adoptaron el color naranja y ganaron en tamaño. Por cierto, volvió a cambiar de paragolpes. Como el Renault 8 ya no se fabricaba, recurrió a los que usaba el Renault 4 francés de 1968.
En 1982 se produjo un hecho histórico, ya que el 4L adoptó el motor de 1,1 litros con 40 CV. Este bloque es legendario para la marca francesa, ya que lo han usado coches como el 8 TS, Renault 5 o Twingo.
Pero el interior del Renault 4L seguía siendo el mismo y muchos conductores estaban cansados de ese salpicadero de tono beige que era demasiado simple.
En 1983 FASA decidió darle a su coche un aspecto visual más moderno y apostó el plástico negro, una renovada instrumentación y unos asientos más cómodos que llegaron a incluir hasta reposacabezas.
El último Renault 4 se fabricó en Valladolid en 1989.
Aunque el coche se comercializó hasta 1992, el que quería un 4L tenía que comprarse la versión Clan que estaba fabricada en Eslovenia y no tenía la calidad de construcción de nuestro paisano castellano."
(...)
Fuente: www.autobild.es/reportajes/50-aniversario-renault-4l-espa...
More info:
elautomovilenespana.blogspot.com.es/2010/06/renault-4-ii....
es.wikipedia.org/wiki/Renault_4
www.ocio.net/motor/historia-del-renault-4-un-automovil-un...
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Knott's Berry Farm.
Cedar Fair Entertainment Company.
.
SAFETY GUIDE.
Must be 52" tall to ride..
1 Guest per seat..
Riders under the age of 8 yrs. old must be accompanied by an adult..
This ride may not accommodate guests of a larger size. Enter via exit to ensure the restraints function properly prior to waiting in line..
All passenger restraint systems, including lap bars, shoulder harnesses and seat belts must be positioned and fastened properly to allow guests to ride..
.
WINDSEEKER.
is not recommended for guests with a history of .
* Recent Surgery.
* Heart Trouble / High Blood Pressure.
* Neck Trouble.
* Back Trouble.
or are.
* Pregnant.
OR any physical conditions that may be aggravated by this ride..
.
Attention Riders: Due to the nature of this attraction, backpacks, purses, electronics, stuffed animals, and other loos items are not permitted. Smaller items may be secured n cargo pockets, waist packs, left in a locker, or with a non-rider. Loose fitting shoes may be left in a designated area on the ride platform. Knott's Berry Farm is not responsible for lost items..
.
* Caution: Car may move when entering or exiting..
* Remain seated facing forward in an upright position with your back against the seat back and hold on until the ride comes to a complete stop..
* Swinging of seats of holding onto neighboring chairs is prohibited..
* Please do not swing or twist in your seat while riding..
* Keep all parts of our body inside the car at all times..
* Refrain from throwing or dropping items from the ride..
* This attraction contains strobe lighting..
* Finish food and drink before boarding..
* For safety, no picture taking while riding..
* Please refrain from smoking in line or while riding..
* Secure your lap bar..
* Fasten your seatbelt..
* Shirts are required..
* Guests with any type of prosthesis should not ride unless they can ensure that the device is properly secured and will remain in place during the ride. Please speak with the Ride Operator prior to waiting in line..
* SPECIAL ACCESS via entrance. TRANSFER REQUIRED Notices pursuant to C.C.R. TITLE 8, SECTION 344.7 may be viewed at the SECURITY OFFICE..
* Passengers with fear of height shall not ride..
————————————————————————.
^ RIDERS MUST BE TALLER THAN THIS TO RIDE ^.
.
WARNING.
Many rides at Knott's Berry Farm are dynamic and thrilling. There are inherent risks in riding any amusement ride. For your protection, each ride is rated for its special features, such as high speed, steep drops, sharp turns or other dynamic forces. If you choose to ride, you accept all of these risks. Restrictions for guests of extreme size (height or weight) are posted at certain rides. Guests with disabilities should refer to our Ride Admission Policy available at the Information Center. Participate responsibly. You should be in good health to ride safely. You know your physical conditions an limitations - Knott's Berry Farm does not. If you suspect your health could be at risk for any reason, or you could aggravate a pre-existing condition of any kind DO NOT RIDE!
dsc00005, 2011.08.17 19.19, 3D, Knott's Berry Farm, WindSeeker, from parking lot
el.kingdomsalvation.org/special-topic/mysteryofincarnatio...
«Για όσους θα σωθούν, η χρηστική αξία του Πνεύματος είναι πολύ κατώτερη από αυτή της σάρκας: Το έργο του Πνεύματος είναι ικανό να καλύψει ολόκληρο το σύμπαν, να διαπεράσει όλα τα βουνά, τα ποτάμια, τις λίμνες και τους ωκεανούς, αλλά το έργο της σάρκας σχετίζεται πιο αποτελεσματικά με κάθε άτομο, με το οποίο έχει επαφή. Επιπλέον, η σάρκα του Θεού με απτή μορφή μπορεί να γίνει καλύτερα κατανοητή και να την εμπιστευτεί ο άνθρωπος και μπορεί να εμβαθύνει περαιτέρω τη γνώση του ανθρώπου για τον Θεό και να αφήσει στον άνθρωπο μια πιο βαθιά εντύπωση για τις πραγματικές πράξεις του Θεού. Το έργο του Πνεύματος περιβάλλεται από μυστήριο κι έτσι, είναι δύσκολο για τα θνητά όντα να το κατανοήσουν κι ακόμα πιο δύσκολο να το δουν κι έτσι, μπορούν να στηριχθούν μόνο σε κενές φαντασιώσεις. Το έργο της σάρκας, ωστόσο, είναι κανονικό, βασίζεται στην πραγματικότητα, διαθέτει πλούσια σοφία και είναι γεγονός που μπορεί να παρατηρηθεί και από τα μάτια του ανθρώπου. Ο άνθρωπος μπορεί προσωπικά να βιώσει τη σοφία του έργου του Θεού και δεν χρειάζεται να χρησιμοποιεί την πλούσια φαντασία του. Αυτή είναι η ακρίβεια και η πραγματική αξία του έργου του ενσαρκωμένου Θεού. Το Πνεύμα μπορεί να κάνει μόνο πράγματα που είναι αόρατα για τον άνθρωπο και που είναι δύσκολο να τα φανταστεί κανείς, όπως, για παράδειγμα, η διαφώτιση του Πνεύματος, η κίνηση του Πνεύματος και η καθοδήγηση του Πνεύματος, αλλά για τον νοήμονα άνθρωπο, αυτά δεν παρέχουν κάποιο σαφές νόημα. Παρέχουν μόνο ένα συγκινητικό ή ένα ευρύ νόημα και δεν μπορούν να δώσουν οδηγίες με λέξεις. Το έργο του ενσαρκωμένου Θεού, ωστόσο, είναι πολύ διαφορετικό: Έχει ακριβή καθοδήγηση μέσω λέξεων, έχει σαφές θέλημα και έχει σαφείς στόχους που απαιτεί. Κι έτσι, ο άνθρωπος δεν χρειάζεται να ψάχνεται ή να χρησιμοποιεί τη φαντασία του, πόσο μάλλον να κάνει εικασίες. Αυτή είναι η σαφήνεια του έργου στη σάρκα και η μεγάλη του διαφορά από το έργο του Πνεύματος. Το έργο του Πνεύματος είναι κατάλληλο μόνο για ένα περιορισμένο πεδίο και δεν μπορεί να αντικαταστήσει το έργο της σάρκας. Το έργο της σάρκας δίνει στον άνθρωπο πολύ ακριβέστερους και αναγκαίους στόχους και πολύ πιο πραγματική, πολύτιμη γνώση απ’ ότι το έργο του Πνεύματος».
από το «Η διεφθαρμένη ανθρωπότητα έχει περισσότερο ανάγκη τη σωτηρία του ενσαρκωμένου Θεού»
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης: el.kingdomsalvation.org/disclaimer.html
No Nagada Sang Dhol without Bhansali for Deepika Padukone! - www.bolegaindia.com/gossips/No_Nagada_Sang_Dhol_without_B...
Devocional diario | Ya entiendo el verdadero significado de “Consumado es”, lo que dijo el Señor Jesús
Esa mañana de domingo era como cualquier otra, cuando abrí mi Biblia, comencé mis devociones espirituales y vi que Hebreos 9:28 decía: “Así también Cristo, habiendo sido ofrecido una vez para llevar los pecados de muchos, aparecerá por segunda vez, sin relación con el pecado, para salvación de los que ansiosamente le esperan”. Cuando pensé en esto detenidamente, no pude evitar sentirme confundida. “Eso no puede ser”, pensé. “¿Acaso cuando el Señor Jesús dijo ‘Consumado es’ en la cruz no quiso decir que la obra de Dios para salvar al hombre se había completado totalmente? Cuando el Señor regrese, podremos entrar en el cielo inmediatamente y tener un banquete con el Señor, ¿cómo puede ser que esto diga que el Señor Jesús aparecerá de nuevo para salvar al hombre cuando Él regrese? ¿Qué es lo que significa esto?”.
Cuanto más pensaba en ello, más dudas tenía en mi corazón … “¡Esto no puede ser! Debo encontrar a alguien para compartir esta palabra conmigo”, pensé. Justo entonces, me vino a la mente mi compañera de trabajo de la iglesia, la hermana Xiao Xue. Solíamos hablar de la Biblia y justo en ese mismo momento la hermana Xiao Xue volvió de una reunión en otro sitio; no había nada que no me pudiera ayudar a encontrar.
Leer más: www.biblia-es.org/consumado-es.html
Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
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----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.
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.
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
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]
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#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
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.
This trek offers an outstanding combination of amazing mountain and valley scenery in a remote area, the visit will really get an in-site into the Authentic Quechua Communities and see thatched stone houses surrounded by herds of llamas and alpacas, and even guinea pigs running loose inside the houses. This hike starts in the Lares Valley and village of the same name, where you can enjoy a night dip in its relaxing hot springs, to then follow to the Andean communities of Huacahuasi, Patacancha and Willoq, reaching the village of Aguas Calientes on the third night, after a 2-hour train-ride from Ollantaytambo. Finally, the fourth day is devoted to visiting the impressive Inca citadel of Machupicchu
Package Name:Lares Trek
Duration: 4 Days / 3 Nights
Type of Trek : Alternative Trek to Machu Picchu
Group Size : To suit group requirements - (no more than 12 Persons)
Difficulty degree of this hike: Moderate / Challenge
Departures Day:
Daily Departures - Small Groups
All private service departure dates are adapted to your request.
A minimum of 2 persons is needed for this trek
Activities: Adventure / Trekking / Biking / Ecological/
High Season: April - November
Route: Closed in February
Lares Trek Itinerary:
Day 1: Cusco - Lares (Hot Spring)
Day 2: Lares (Hot Spring) - Ipsaycocha)
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
Day 4: Aguas Calienties - Machu Picchu - Cusco
Day 1: Cusco - Lares (Hot Spring)
We leave Cusco at 6:00am in a private transport and drive for an approximated 4h through part of the Sacred Valley to then head towards Lares (3100m/10168ft), a little rural village located in the beautiful valley of the same name, hosting some well-known hot springs. Upon arrival, we leave our equipment and continue towards Choquecancha, an impressive archaeological site with amazing views of the neighboring valleys. After our visit, we hike back to Lares, where we can enjoy an evening dip in its hot springs before or after our dinner is served. Our camp will be set next to the thermal baths and access is free the whole night.
Day 2: Lares (Hot Spring) - Ipsaycocha)
After an early wake up and breakfast, we meet our horsemen and horses and leave our campsite at around 9.00am to walk along an ascending path that will lead us to Huacahuasi, (3600m/11808ft). This remote Andean community is located in an impressive valley, where the typical lifestyle and house constructions of the Quechua communities living at high altitude can be appreciated. We stop to visit a typical house and family, before we enjoy our lunch. In the early afternoon, we continue our hike ascending toward the mountain pass of Ipsay (4450m/14596ft/3h), walking across little communities and Andean flats (pampas) with the presence of llamas and alpacas. The pass offers impressive views of Mount Veronica and the surrounding snow-capped peaks. Just half an hour from this point is Ipsayqocha, a beautiful lagoon next to which we set our camp and spend the night, amidst awesome scenery.
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
After two full days of hiking today is much easier. After an early breakfast we walk downhill through a wide-open valley for about 2½ hours until we arrive at the village of Patacancha. We will have a chance to view some textiles made by the people of this community - the high quality weavings are famous for their intricate designs reflecting aspects of their everyday lives and culture. After we also get the chance to walk slowly down the valley to Willoq, another Quechua village where the locals still wear their traditional dress and are proud to maintain their cultural identity. From Patacancha we will take our transport further down the valley to Inca town of Ollantaytambo where we will rest and have lunch, then catch our afternoon train to AguasCalientes. This is an amazing journey that starts in the Quechua highlands and slowly descends to lush tropical vegetation as we near AguasCalientes. Total journey time about 1½ hours. Tonight we stay in the small quaint town of Machu Picchu.
Day 4: Aguas Calienties - Machu Picchu - Cusco
5 am breakfast then at 5.30am we get the bus to Machu Picchu. We need to depart early so those who wish to climb Huayna Picchu will need to sign up before the 2 hour guided tour. During your visit to these ancient ruins you will see clouds fly past and Machu Picchu will disappear with in them, so make sure you take pictures whilst the ruins are visible. After the tour you will have free time to explore the mountain of Huayna Picchu overlooking all of Machu Picchu - by far the best view! Huayna Picchu will take approximately 2 hours return trip. It is now your choice to enjoy lunch just outside the ruins or take the bus back to AguasCalientes to explore this small and quaint village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.
What is Included:
English speaking guide
Pre-departure information meeting,
Machu Picchu entrance fees.
First aid kit, portable oxygen Tank,
3 night accommodation in tourist hostel,
Transfers,
Bus ticket Aguas Calientes Machu Picchu - Aguas Calientes,
Expedition train ticket Aguas Calientes - Ollantayatmbo,
Transfer from Ollantaytambo - Cusco Hotel
What is NOT Included:
International air fares to Peru,
Domestic flights, airport taxes,
Meals other than those specified in your itinerary,
Personal insurance.
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/
Copyright © 2010 - 2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency
March is apparently question month. To ask me a question, post a comment here: toddpage.livejournal.com/370916.html or send me a flickr mail. [Or leave it here if anomynity is not of any importance - the lj post comments are screened so that only I can see them]
All questions: Here
Question 5:What was it like, first realizing that you might be gay? When did you first wonder, when did you accept it, when did you act on it? How did you feel about it all?
The first time I realized I was gay I was 12 years old, taking a shower. I was not thinking about anything in particular, and out of nowhere, as I leaned to turn the water off, I realized: "Shit. I'm gay." I had never really lined things up. I knew I tended to try to help certain people at the store more than others. I'd never considered the fact that the ones I made efforts to help were men, had chest and facial hair, and were usually of a slightly larger build. [Yeah, even then I pursued the "bear" type.] All of a sudden things clicked into place. I was terrified. I hated it. I decided right then and there, that I would not be. I would not be gay. I would control it. Stop it. I could make this not be true, and like girls. I would find a woman, make her my wife, have kids and a dog, and live the straight life. There was nothing to say I couldn't fix this. And like that, I turned a switch in my mind off, and began some pretty hardcore denial. I still tended to help certain customers, and, suffice to say, I was not immune to knowledge of the internet. But somehow I managed to convince myself that despite the fact that I still gazed at men, I was straight. I wasn't aware of it even. I did denial extremely well, and forgot my discovery [until I was ready to deal with it.] It wasn't terribly difficult, honestly. Few people in my school interested me... in that way... and it would've been extremely complicated to be out at my all-boys catholic high school as it is. Either way, I ignored it. I went on one, awkward, date with my best female friend from high school. [Our theatre program did shows with the sister school's girls.]
My freshman year of college, I sunk further in, which led to my second realization. I dated a girl from my school who is a wonderful person, and very pretty, for about 2 weeks. Maybe 3. We'd hold hands, and cuddle when the group of us watched movies, and we went to dinner and a movie once. Every night, I'd walk her home to her dorm, and give her a hug, then walk to my dorm. Something missing from this situation? Ah, yes, at this point, we perhaps should have kissed. Something about it, the idea in itself, held me back. And the last evening... 2.5 weeks in, when it could be put off no longer, as she was my girlfriend at this point... I realized that I needed to kiss her good night. And as I leaned in to do so, it hit me again, in this order. "Oh, man... I really don't want to do this. FUCK. I'm gay." As I'm leaning in, I maneuver into what is clearly the worlds most awkward hug, and uncomfortably tell her "Good night"
Some history of me at this point. I am a pius, naive, freshman at a very conservative catholic college - my college was in fact #2 in the nation for most homophobic on the Princeton Review I have never touched alcohol, and at this point still believe I will not do so until I am 21. I go to church every sunday, and I go to "Prayer and Praise" every wednesday evening. As a general rule, I stop by the Harkins Hall chapel once every day or so because it is small, quiet, and I can pray there. I do all my homework in the chapel basement. I have hidden myself in this. I believe what I am told, but there is no strong faith behind it. It is a place I can fit in, where I know the rules and what is expected of me. At the same time I fight anyone who says that being gay is evil. [I HATE the word homosexual and homosexuality. It's so clerical.]
It is 2 am on a friday night, in late november, and I am now re-realizing I am gay. I am realizing that this may not be something for me to control. I am still very much hateful of the fact. This turns inward. I hate myself, and loath every part of me that makes me feel this way. I am already an outcast from most social situations, and awkward, the last thing I needed was this extra load. People would hate me. All of them. I'm sure of it. All my friends will leave me and hate me. I'll have to start enjoying shopping, and I'll probably have to listen to Madonna instead of punk rock. But no. Maybe this is still fixable. I had convinced myself that with great prayer, God could take this away. I started being more vigilant, praying daily, fixating myself on anything I could that would help me push away from this. I told the girl that something was up, and I needed to figure it out. She respected that, and I think knew EXACTLY what was up. I would cry in church, praying so hard that I shook, hoping and calling to God to let me find women attractive. Or at least to stop finding men attractive. Anything. Anything to avoid dealing with or accepting it, me. Somehow, this didn't work. Surprising, I know.
So, I had to deal with it. I had to start accepting me. That this was an uncontrollable aspect of who and what I was. It was a piece of me. It was something that had been created in me, like the color of my eyes, or the color of my hair. I turned to the internet. Looking at forums, and still looking for loopholes. I joined a forum for the young and gay and talked it through with people there. I talked with some people who had experience, [Bruin, creator of Bear With Me gave me an excellent X-Men analogy, that I remember specifically.] All of this occurred over the length of the second semester.
No one else knew at this point. I had come to a sort of shaky acceptance with it... but it was very weak. I wasn't confident in it, and I still hated it. I still didn't want it to be true, but I was at least aware that it was something outside of my control. Which, to be fair, is a big step in it's own. I was carrying it by myself though. Till a cast party. It was the second cast party for Brigadoon. There was a particularly homophobic person in the cast, who had written a letter in The Cowl the week before comparing homosexuality to cancer. As a joke, we had discussed one of the guys drunkenly kissing him. [We we're freshman, give us a break] This was the second time I had ever had alcohol, and I still hadn't learned how to drink, or how to control when I drink. My friend, Joe, suggests I do it, and I blurt out "No. Not until I come out."
And then I realize what I'd done, and leave. Joe follows me, and confronts me... I tell him it was a joke, and he rolls his eyes. It's the next day and we're having dinner when he asks me about it. And I slowly tell him that I thought it was true. I didn't know where on the kinsey scale I was [I'd recently discovered the scale, and I thought it was fancy] but I had a hunch it was true. At some point in the next month, the girl I'd dated asked me what had happened and I'd told her too. That was two people. And I had told them I was still not sure. Come graduation week. I was really the only person in my group of friends on campus for the week, and I read books the entire time. I read Augusten Burrough's 'Running with Scissors', then Dry, then David Sedaris' "Me Talk Pretty One Day" Believe it or not, these were the first books I'd read about or by gay people - at least to my knowledge. I was still looking for loopholes but I was recognizing that other people were like this, and they managed to survive life. I started gaining a little bit of confidence. I went home for the summer and, very shyly, got the 2 books on gay subjects out of my library, and read through them, looking for understanding. Looking for some kind of knowledge about who and what I was. I tend to read about things before I go into them. Alot.
Somehow, I decided I was ready to come out to my parents. I don't know if I decided I was ready, or if I decided it was the right thing to do. This was a horrible decision at this time, because my confidence levels were still extremely low. I nervously and carefully sat them down at the dinner table, feeling my heart in my chest. Terrified. The second or third most awful feeling I've ever felt. And I told them "I think I'm gay." I had prepared for various responses, based on my books, but life, surprisingly [sarcasm], doesn't run like books. They did not express hate, or anger, and told me that they would never love me any less... but that they did not think I was gay. That perhaps it was a phase. That everyone questioned it at some point or another, and that I needed more time to know for sure. Essentially, that the conclusion I had clawed my way too, was wrong. I didn't know how to respond, and instead of standing my ground, conceded that it was possible. We made dinner and watched Shrek. [My parents, by the way, are amazingly supportive people, who I have put through a lot, and who love and accept me for who I am, through everything I've done. They take the details of my life quite well. I don't want anyone thinking less of the two wonderful people who brought my life. This is something that for them, as for me, would take some adjusting to. And they have adjusted to it, now, and support me fully]
Nothing further was said. The response I'd received had shaken the confidence. I still knew I was attracted to guys, but what happened from there? I told another friend, a close female friend from PC, and her response was amazing. She told me she was proud of me for coming to terms with it, and that she was so happy for me. She was so... supportive. The people I'd told so far had expressed acceptance... but this was the first time support in it had come. It was surprising, and my confidence in myself and my ability to cope with it grew. I went back to school and started talking a little less furtively. And on October 10th, I got an IM from Joe: "So... tomorrows national coming out day... you gonna tell everyone?" I had never even thought about telling the rest of my friends. "I guess so. Might as well now, gonna have to do it eventually, right?" "Yup." I then sent the girlfriend an IM telling her my plan.
So, yeah. I came out on National Coming Out Day. Not because of the holiday, but because the holiday had kind've reminded me that it was something I should do. All my friends were in the cafe, eating lunch, and before some left for class, I said "I have to say something." *silence* "I'm queer."
Oh, how I regret saying "I'm queer". I had chosen it carefully, it was an umbrella term, and it allowed me retreat, should things turn a direction that I didn't favor. 3 or 4 raised their eyebrows in shock, 2 laughed. [Kaitlin told me later her exact reaction was "Well, yeah."] Only 1 person in my group of friends reacted poorly... and she kind've cast herself away. I still don't talk to her. It was kind've amazing. I could start talking about all the shit I had bottled up openly, and I didn't have to fit any mold. I was, amusingly, now requested by friends to do things like go to the mall, or go dancing. I think this was hilarious. I had not been hiding any desires or actions... so upon coming out I still hated shopping, and still, for the most part, was not interested in an evening of dancing. Still my confidence grew, and I got to be really okay with it. I started having recognizable crushes, and though I was still uncomfortable with some aspects, I made progress.
That covers all of the acceptance bit. It's still a process for me in some ways. I notice I have this instinct within me to push against anything stereotypical. I refused to listen to Madonna, or Cher... would not even give them a try, and I still respond to some "gay" things with a negative attitude. I'm working on this. I recently listened to Madonna, to give it a chance. I still don't really like it, but at least now I've given it a chance. I mean, the girl has some definite pipes... and Like a Prayer is hella fun, but it's just not something I'd listen to for the hell of it. I'm teaching myself to recognize that doing things that are stereotypical aren't bad, as long as you aren't doing them to fit the stereotype. And not doing them to avoid the stereotype is just another way of letting the stereotype control you.
When I first acted on it is a tricky business. There had been some minor flirting, back and forth, with a freshman named ... gah, we'll say Alex. Alex was bearish, and cute, but personality-wise, not at all a match for me. As has been discussed, this is important. I was not really interested, and had tried to express that in nice ways... or avoid it anyway. We did crew together for a show called My Sister In This House, and at the second cast party, I had a lot of beer. Like, A-LOT. This was probably my 7th time ever drinking [ a year later ] and I was pretty hammered. Okay, very hammered. I was blurrily aware of the goings-ons, it was very late, and few people we're left at the gathering. I was warm, and I came to realize it was because Alex was standing behind me, with his arms around me. It felt nice, and I was hammered, so I let it occur. Then he started to pull me into the room where no one else was. A little something triggered in my brain, and I resisted. But another tug and I followed. We were standing in the room when this exchange happened:
Alex: "You're beautiful."
Me: *pause* "You smell like soap."
Alex: "Is that a good thing?"
Me: *long pause* "Yes."
At this point, he licked the back of my neck, which felt nice, but weird, but didn't have much [drunk] time to recognize it, as he leaned in and put his tongue straight in my mouth.
This woke me up pretty quickly. I'm pretty glad, too, had it been a subtle kiss first, I might have a story I'd regret. Who knows though. I told him "No." and he asked me if that meant just now, or ever. I said I didn't know.
He didn't talk to me for a year. I'm not entirely sure I blame him. I'm not sure if that counts as acting on it, as I was barely aware, and didn't really act except for to realize I was not comfortable with it. But it was my first kiss, regardless. My first real acting on it was a year later. February of my junior year of college, and began with a meeting for coffee, then a kiss in a Chili's parking lot. It moved forward from there into my first relationship.
To sum up: Ages 12 and 18, never really wondered, it just HIT me, 19 and 20, and I hated it. Alot. I don't anymore though. I'm really actually comfortable with it now. I like that it's a part of me, and I no longer feel any desire to change it. I don't believe in gay pride, because I think it's something embedded within me, just like I wouldn't be proud of having blue eyes, I wouldn't be proud of being gay... but I do embrace it as a part of me, and support it. I am comfortable with who I am, finally, at 22, and it feels glorious. I've gotten beyond accepting it, and I support it in myself. Whenever you read about people's coming outs, they always refer to coming out to themself first. I think we can add a step and that is supporting themself in that. I am finally there. Not without my share of work left to accomplish further, but I have made great progress, and I feel certain I will make more in times to come.
[This photo was taken in my actual closet, PS... it was supposed to be a photo reflecting the "in the closet" thing - also, I don't take the time to edit any of these. [the text, that is]]
[self-portrait]
//========================
This account is officially actively taking part of Year 2 of my 365 project.
3/7/09
www.facebook.com/pages/%D7%99%D7%A6%D7%99%D7%90%D7%AA-%D7...
www.ybz.org.il/_Uploads/dbsAttachedFiles/Article_210.8.pdf
www.nrg.co.il/online/54/ART2/203/606.html
"צייד הנאצים"טוביה פרידמן
פרידה מצייד הנאצים טוביה פרידמן, שהביא ללכידת אייכמן
בסוף השבוע שעבר נקבר צייד הנאצים טוביה פרידמן. האיש שהקים את המכון לדוקומנטציה בחיפה, הביא לתפיסתם של אלפי נאצים, הגיע הכי קרוב לד"ר מנגלה והעלה את עצמות חוזה המדינה. גולת הכותרת במפעל חייו: אדולף אייכמן. זמן חיפה מביא את סיפורו של גיבור, שעשה הכל לבדו
עדי לרנר | 23/1/2011 16:20
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תגיות: טוביה פרידמן, צייד נאצים, בדיחה ידועה שהתרוצצה לפני מספר שנים על נשיא המדינה, שמעון פרס, סיפרה, שכאשר נתקע פעם אחת באחד מסיוריו בחו"ל ללא מכנסיים מתאימות, הובהלו לו 2 זוגות מכנסיים מהארץ. כשבא ללבוש אחד מהן – לא הצליח להיכנס לתוכו.
אמיר קנגון עם דודו טוביה פרידמן בוינה 1951 צילום: באדיבות המשפחה
מבולבל ניסה להיכנס פרס לזוג השני, אך גם כאן לא עלה בידו להיכנס אל המכנסיים. צלצלו בבהילות אנשי לשכתו לארץ, ונזפו בחייט הישראלי שהביא לפרס את המכנסיים הלא מתאימות. "זאת לא אשמתי", טען החייט, "בחו"ל שמעון פרס תמיד יותר גדול".
בשישי שעבר הובא למנוחת עולם בבית הקברות בכפר סמיר טוביה פרידמן, כשהוא בן 89 במותו. עשרות ליוו את צייד הנאצים, ואפילו ראש עיריית חיפה, יונה יהב, ספד לו וסיפר בהתרגשות איך ביקש בגיל 12 ממערכת העיתון "מעריב לנוער" לשהות במשך יום במחיצתו של פרידמן, ומאז נקשר אליו וליווה אותו.
למרבה הצער השם טוביה פרידמן לא יצלצל מוכר לרוב הקוראים, ובוודאי הצעירים שבהם. לעומת זאת, לפני כחמש שנים, כאשר נפטר צייד הנאצים שמעון ויזנטל, קיבלה לוויתו אזכורים בכל העיתונים ואתרי האינטרנט המרכזיים.
קשה להסביר כיצד זכה זה לתהילת עולם, והשני, אשר זכה לכבוד אצל כל שועי עולם, דווקא במולדתו נותר אלמוני יחסית, ואולי דווקא, כפי שהיטיב לומר זאת בעצמו פרידמן: "אם הייתי נשאר בוינה - גם אני הייתי הופך למפורסם כמו ויזנטל".
הצייד הראשון
קצרה היריעה מלספר את קורותיו של ניצול השואה, שפעל להבאת עצמות חוזה המדינה, בנימין זאב הרצל, ועצמות משפחתו, ארצה. שהיה זה שלמעשה מצא את אדולף אייכמן, והסגיר אותו לידי המוסד.
טוביה פרימן על רקע הרייכסטאג בגרמניה צילום: באדיבות המשפחה
שהיה האיש הקרוב ביותר למציאתו של ד"ר יוזף מנגלה, שעזר לארגון ה"הגנה" לאגור נשק לקראת סיום המנדט הבריטי, שפעל על מנת לבטל את חוק ההתיישנות על פשעי הנאצים, שאיתר למעלה מאלפיים מהם, כולל מפקד האס אס של גטו ראדום וסגנו, והביא להסגרתם של חלק ולתלייתם של אחרים, ועוד.
הכל בעזרת שתי ידיו ושתי רגליו, מבלי עזרה מהמדינה, מבלי תמיכה מ"יד ושם", בראש סניפה החיפאי עמד 3 שנים, מבלי לעשות לעצמו מפעל שלם של יחסי ציבור. מפעל של אדם אחד, שראוי שיישמע סיפורו.
את רוב שנותיו בארץ בילה טוביה פרידמן בדירתו בחיפה, אך את שנותיו האחרונות בילה פרידמן בחולון, בבית אחותו בלה קנגון, לאחר אירוע מוחי שעבר. השבעה עצמה נערכת בביתה של בלה, והדירה מלאה בתמונות ובתצלומים, שתלה אמיר, בנה, שנחשב עוד מילדות לממשיך דרכו של פרידמן.
בין תמונות של טוביה, או של בעלה של בלה, בוריס קנגון, שנפטר לפני 3 שנים, אחת התמונות הבולטות בסלון היא של רוני, בנו של פרידמן שנספה בתאונת צלילה ב-78'. אנה, אשתו של פרידמן, מספר אמיר, לא הצליחה לעמוד בכאב, ונפטר לאחר שנים ספורות.
ביום שישי נקבר פרידמן לצד שניהם, בבית הקברות בכפר סמיר. "רוני היה במבדקים לשייטת, צוללן מוכשר. בערב לפני שקרה האסון, ערב ליל הסדר, הם היו אצלנו בבית, הוא, אמא שלו, הדוד טוביה וכל החברים מהשייטת. לאחר שנגמרה הארוחה ואנשים עמדו לצאת, סגרתי בטעות את הדלת על האצבעות של היד שלו. מכיוון שאמו הייתה רופאה בבית החולים בחיפה חבשו לו את היד, ובבוקר הם נסעו לשארם.
היו 41 מעלות בחוץ, אבל הם צללו. בסירה עימם הייתה בחורה אמריקאית, שביקשה מרוני, כחלק מאתגר, להביא לה חול מעומק של 12 מטרים. רוני צלל, וחזר עם מבוקשה. בהמשך ביקשה ממנו לצלול לעומק עמוק יותר, גם במשימה זו עמד בהצלחה. לבסוף, שכשכבר היה מותש מהחום והצלילות ביקשה בשלישית. למרות עייפותו צלל שוב, אך מהצלילה הזאת לא שב".
תמונה נוספת שמראה לי אמיר היא של פרידמן ושלו, בגיל שנתיים, בוינה. הדוד מחזיק לאחיין את היד. וכך הם הלכו, יד ביד, שישים שנה, כשקנגון הופך לסגנו של דודו, עוזר היכן שצריך, שותף לאירועים, שבדיעבד הפכו היסטוריים, מתעד באדיקות, כמו הדוד, כדי שדבר לא יישכח.
הנאצים הראשונים
לפני כעשור התראיין פרידמן למגזין "בית משיח" של תנועת חב"ד, ובו סיפר על הקשר האמיץ שקשר עם הרבי מליובאוויטש, וגם על איך עצר, במסגרת תפקידו כקצין חקירות במשרד הביטחון הפולני, מאות נאצים, וביניהם נאצים מהגטו ממנו נמלט במהלך השואה.
טוביה פרידמן על קברו של בנימין זאב הרצל צילוםף באדיבות המשפחה
"הגעתי לוינה עם קבוצת יהודים נוספת, במטרה להמשיך לארץ ישראל, אלא שבשמים ייעדו לי מטרה אחרת. באותם ימים פגשתי בוינה את היינריך ראקוץ’, מידידי בעיר ראדום, אותו היכרתי אישית ממחנה הריכוז שקולנה. הוא הפתיע אותי: 'אתה זוכר את סמל האס אס בוכמאיר, שרצח בראדום כל כך הרבה יהודים? הוא נמצא כאן בוינה, ופתח חנות'.
"כשהגענו לשם התברר לנו כי הוא כלוא במחנה שבויים אמריקאי ליד זלצבורג. המשכנו לשם, והצגנו את עצמנו בפני מפקד המחנה. הוא ידע כי נאצים רבים מסתירים את שמותיהם ותפקידם, כדי להקל בעונש שיוטל עליהם. התחפשתי לאסיר גרמני, והוכנסתי למחנה כשבוי גרמני על מנת לנסות לזהות את הצורר בוכמאיר. כעבור שעות ספורות זיהיתי אותו, והוא נקרא מייד למפקד המחנה לחקירה.
"בוכמאיר אמר שאינו זוכר אותי. 'אתה התרוצצת עם מקל כבד, והכית בנו עד זוב דם', הזכרתי לו. 'היו לך אפילו אחיות שחבשו אותנו, כדי שתוכל להכותנו שוב אחר כך'. שפתיו של בוכמאיר נעו במבוכה וזעם, 'אבל לא הייתי הגרוע ביותר בראדום'.
"מיד לאחר החקירה החל הליך הסגרתו של בוכמאיר לפולין ושם הועמד לדין. לאחר מכן איתרנו נאצי נוסף בשם ריכרד שייגל, שהעביר אלפי יהודים מגיטו ראדום אל מחנה ההשמדה בטרבלינקה. מפקד משטרת וינה טען בפנינו כי ריכרד נעצר ושוחרר מחוסר הוכחות. אולם על סמך עדותי ועדותו של היינריך, הוא נעצר עוד באותו לילה. הוא נחקר והועמד לדין. את חייו סיים בבית הסוהר בוינה. אלו הנאצים הראשונים שלכדתי".
בהמשך מצא גם את ראש האס אס ומפקד המשטרה בראדום, הרברט בטכר, וסגנו וילהלם בלום, שהיו אחראים לשליחתם של כ-300,000 יהודים למחנה הריכוז בטרבלינקה, בהם משפחתו של פרידמן.
פרידמן נולד בראדום, פולין ב-1922. ב-1941 הועבר ביחד עם משפחתו לגטו ראדום, ושנה לאחר מכן נשלחו אחותו ואמו לטרבלינקה. הוא נשלח למחנה עבודה, ומשם נדד ממקום למקום, עד שהגיע למחנה ברחוב שקולנה.
ביוני 44' הצליח לברוח ביחד עם שני חברים נוספים מהגטו דרך תעלת ביוב, ושרד בשטח. הוא ניצל פעמים רבות ממוות, כשבאחת מהן, לילה לפני הוצאתו להורג, חיסל את החייל שהופקד עליו, וברח.
ב-45' הצטרף למשטרה הפולנית בזהות בדויה, וזאת למען המטרה אליה שאף – רדיפת הנאצים ונקמת דם משפחתו. הוא הפך לקצין חקירות, ובמסגרת תפקידו עצר מאות נאצים, והביאם לדין. שנה לאחר מכן, כשפגש את אחותו בלה, ששרדה אף היא, תכנן לעלות ארצה דרך ארגון "הבריחה", שם הכיר את אשר (ארתור) בן נתן, שלימים כיהן כשגריר הישראלי הראשון בגרמניה המערבית, וכיום מכהן כראש יד בן גוריון.
בן נתן גייס את פרידמן למשימת איסוף המידע אודות פושעי מלחמה נאצים, כאשר הראשון במעלה היה ראש החטיבה היהודית באס אס, אדולף אייכמן.
בראשית שנות ה-50 הפסיקה ארצות הברית את המאמצים באיתור פושעי מלחמה. פרידמן החליט לעלות לארץ, כשהאמין שבמדינת ישראל יוכל לעשות את משימתו ביתר שאת, אך בדיעבד את מרבית הפושעים שתפס - תפס דווקא בוינה.
האיש שמצא את אייכמן
גולת הכותרת במסע הצייד שניהל פרידמן כנגד הנאצים, הייתה ללא ספק 15 השנים בהם בילה במרדף אחר אדולף אייכמן.
אדולף אייכמן במשפטו, מאחורי קיר הזכוכית צילום: אי-פי
סיפור מציאתו של אייכמן החל בסוף אוגוסט 1959, כאשר מנהל המרכז הפדרלי לחקירת פשעי הנאצים, ארווין שילה, הודיע לפרידמן, שעבד איתו צמוד, כי ככל הנראה אותרו עקבותיו של אייכמן בכווית. פרידמן ניסה להציף את העניין לתודעה הארצית, ופנה לעיתונאי משה מייזלס שיפרסם את הסיפור.
הידיעה על הימצאו של אייכמן עשתה גלים, ומשרד החוץ ביקש מפרידמן לחדול ממעשיו. פרידמן נטש את הזירה המקומית, ופרסם מודעות בעיתונים בחו"ל, בה הציע פרס של 10 אלף דולרים למוסרי מידע אמין על מיקומו של אייכמן.
באוקטובר 59' התקבל אצל פרידמן מכתב מלותר הרמן, ניצול שואה שבחר לארגנטינה, וטען כי אייכמן נראה בבואנוס איירס בארגנטינה. פרידמן העביר את המידע למוסד, וב-23 במאי הודיע בן גוריון מעל בימת הכנסת כי אייכמן נמצא בישראל.
ב-24.5.60, יום לאחר ההודעה, פרסם רפאל בשן, כתב מעריב, טור. "היה זה יומו הגדול של איש ממוצע קומה, בעל עיניים נוגות והליכות הססניות, הנושא תדיר תיק עור ישן ומסמורטט תחת בית שחיו – יומו הגדול של טוביה פרידמן", כתב. "לא, הוא לא לכד במו ידיו את רב הטבחים – את המלאכה הטובה והנקייה עשו הבחורים, אבל טוביה פרידמן יצר את האווירה לכך.
"העלה את זכרו של רב הטבחים הערמומי הזה לסדר יומנו, הציב אותו על ראש כל שמחתנו, החדיר אותו לתודעתנו. שבוע שבוע, חודש חודש הוא נדנד, והטריד, והתדפק על דלתות מוסדות וארגונים, ואישים, וחברי כנסת, ומזכירים ומזכירונים - ולא נתן לנו מנוח, ולא אפשר לנו לשכוח.
"ממשרדון קטן בעיר הכרמל, בלי פרוטה של תמיכה ציבורית, ניהל את המערכה שלו – נגד אייכמן, ונגד בירוקרטיה ואטימות מוחין של מוסדות מסורבלים, קהי רגש, קצרי רואי, שהתנכלו לדוקומנטציה שלו.
"15 שנים רצופות רדף אחרי אדולף אייכמן, אסף פרט לפרט, מסמך למסמך, תצלום לתצלום. התכתב עם כל קצוות תבל, שלח לתובע הכללי הגרמני 400 עמודים גדושי חומר על אייכמן. אתמול הגיע פרידמן לסוף הדרך".
3 ימים לאחר מכן ראיין בשן את פרידמן: "אני עייף", אמר לו פרידמן, "עייף מ-15 שנות אייכמן. זה היום הגדול בחיי".
"בלי הדוד שלי - לא היו מגלים את אייכמן לעולם", מחזיר אותי האחיין אמיר למאה ה-21. "באחד העיתונים כתבו, שאייכמן היה בסך הכל נמושה. מה תפסו? אדם זקן. אבל שכחו את הדבר הכי חשוב - שהקונץ היה להגיע אליו, לחפש אותו בין כל המדינות שעזרו לו, להביא אותו לידי המוסד, ואת זה הדוד שלי עשה, הוא".
אגב, בזמן המשפט היה פרידמן אחד האנשים היחידים שהורשו להיכנס אל תאו של אייכמן, ועד היום נמצאים דפים, כתובים בעט אדומה, עליהם כתב אייכמן את פרטי הפיתרון הסופי. "כל יום במהלך המשפט הדוד שלי היה שם. הרי אייכמן כתב לו מכלא רמלה 2 דפים עם עט אדומה, על כל הפיתרון הסופי. הדוד שלי נתן את זה אחר כך לספריה הלאומית בירושלים, אבל צריך לזכור שאייכמן כתב את זה באופן אישי לדוד שלי".
האויב מבית
שנה לאחר תפיסתו של אייכמן, ב-1961, הוציא פרידמן את ספרו "הצייד", שתורגם ל-5 שפות ויצא במספר מהדורות. אמיר מספר שאפילו במהלך הוצאת הספר נתקל דודו בקשיים, הפעם מבית.
הפתרון הסופי בכתב ידו על אדולף אייכמן במכתב לטוביה פרידמן צילום רפרודוקציה: באדיבות המשפחה
"ב-1961, כשהוא בא לכתוב את הספר שלו, ובו סיפר שהוא עשה הכל, אז ראש המוסד דאז, איסר הראל, רצה למנוע ממנו את זה, אולי כי זה היה פוגע בספרו 'הבית ברחוב גריבלדי', שם היו פרטים מעט שונים מהפרטים שנתן דוד שלי. הוא לא הצליח מסיבה אחת, מכיוון שדוד שלי היה ביחסים טובים עם ז'קלין קנדי, שהייתה המו"ל של הספרייה הגדולה בעולם, והוציאה את הספר במספר שפות. מול גב שכזה אי אפשר להתווכח", נזכר קנגון.
סיפור נוסף שמתאר קנגון, מגלה סערה שהתחוללה סביב פרס ק.צטניק: "השכן שלי בתל אביב היה יחיאל דינור (ק.צטניק), וכשהוא כתב את סלמנדרה הוא הקדיש אותו לבן שלי, רוני, שבכיו, כך טען, השאיר אותו שפוי בלילות בהם כתב.
"פילו הילדים שלו לא ידעו, שהספרים שהם קוראים ולומדים נכתבו בידי אבא שלהם. יום אחד הוא סיפר לי על קרן ק.צטניק, ועל פרס של מיליון דולרים שמוענק דרכה. 'אני רוצה שהפרס יינתן לדוד שלך', אמר לי, 'מכיוון שהוא פועל מהארץ, וכל השאר לא. בסוף קיבל את הפרס אלי ויזל. אנחנו שתקנו, אבל דינור החליט שהוא מפסיק לתת את הפרס בעקבות המקרה".
אך סיפור זה הוא רק טיפה בים, לטענת קנגון, ודודו נאלץ להילחם בבירוקרטיה הישראלית לא פעם. אם מול אנשים מסוימים במוסד (למרות שעם השר לשעבר, רפי איתן, נשאר בקשרים מצוינים עד מותו) או אפילו "יד ושם", אשר בראש סניפו החיפאי עמד שלוש שנים עד אשר הסתכסך עם ראשיו ב-1956, בעקבות 2 מסיבות עיתונאים מפורסמות, בהן הציג מסמכים רבים שאסף בוינה אודות נאצים.
המדינה לא ביקשה את הסגרתם, ו"יד ושם", שטענה כי מטרתה תיעוד הנספים ולא רדיפת נאצים, אילצה את פרידמן לעזוב כעבור שנה את שורותיה. אז החליט פרידמן לייסד את "המכון לדוקומנטציה בישראל לחקר פעולות הפושעים הנאציים", שמטרתו הייתה חיבור ספרים בנושאי השואה, תביעת מדינות אשר ברשותן רכוש שנגזל מיהודים בשואה ועריכת תערוכות והרצאות בנושא השואה בארץ ובחו"ל. אחת התערוכות הציגה במרכז האקדמי כרמל עשרות צילומים המתעדים את תקופת השואה, אותם מסר פרידמן.
בצילומים נראים יהודי אירופה בגטאות, במחנות ההשמדה, וחלקם צולמו על ידי הנאצים דקות לפני ביצוע הוצאות להורג המוניות. כל הצילומים נתונים במסגרות ששוחזרו ושופצו, לקראת הצגתם בתערוכה. "הצגת התערוכה היא מחווה לטוביה פרידמן, שמפעל חייו היה להביא לדין פושעי מלחמה נאצים", מסר אז נשיא המרכז האקדמי, פרופסור יחזקאל טלר, "אבל חשיבותה בצורך שלנו לא רק לזכור, אלא גם להזכיר לדורות הבאים את אימת הימים ההם".
גם את המכון הזה הקים פרידמן מאפס, ועבד בו בהתנדבות עד אפריל 1958, כאשר הקונגרס הציוני העולמי החליט לאשר מימון חודשי של 200 לירות לפעילות המכון. נכון לשנת 2005 הוציא המכון לדוקומנטציה, יותר מ-150 פרסומים וכ-20 ספרים בנושא השואה.
הכי קרוב למנגלה
פעילות נוספת שהייתה לחם חוקו של פרידמן, היא פעולותיו לביטול ההתיישנות בחוק הגרמני על פשעי הנאצים. פרידמן לחם בנושא רבות, ולאחר כעשרים שנות מאבק הוחלט בבונדסטאג לבטל את ההתיישנות על פשעי רצח ורצח עם.
יוזף מנגלה צילום: אי-פי
אחד המקרים בהם לא ויתר פרידמן, היה איתורו של ד"ר יוזף מנגלה, אליו לקח גם את אחיינו אמיר: "הייתי עם הדוד שלי 3 פעמים בבית של יוזף מנגלה לפני 20 שנה", הוא מספר. "ישבנו מול הבן שלו בעיירה גינזבורג, מאה ק"מ מהגבול השוויצרי בדרך למינכן.
"הבית נקרא 'בית חרושת לקוגלגרים', אבל היה לנו מידע מבוסס ששם גרה משפחתו. נסענו עם הרכב, הגענו לשם ודוד שלי התחזה לאחד הלקוחות, כדי לראות איפה מנגלה חי. נפגשנו עם הבן, האמא ודיברנו בעיקר על קוגלגרים. הוא לא חשד בכלום.
אחרי כמה ימים של ביקורים, על מנת שפחדנו שלא ניפול בפח, הגענו שוב לאותו בית חרושת וקבענו שדוד שלי יהיה בפנים ואני בחוץ. אם יקרה משהו - שיודיע ואגיע. בפעם השלישית דוד שלי הצליח להבין מהבן איפה מנגלה נמצא. באותו הרגע גם הבן הבין שהוא נפל למלכוד. הוא ניסה לתפוס את הדוד שלי, וסגר עליו את דלת הברזל של הכניסה לבית.
"דוד שלי אותת לי, ואני עם המכונית פרצתי פנימה והוצאתי אותו. לצערי אז לא היו פלאפונים, וכשיצאנו משם הרמנו מייד טלפון לנציג של המוסד באותו אזור, ואמרנו לו שמנגלה נמצא במלון אנגלברג בציריך. אנשי המוסד רצו מהר לאזור, אבל בשעתיים הם פספסו אותו, מכיוון שהבן הספיק להזהיר אותו".
מנגלה לא נתפס מעולם, עד שבשנת 79' התגלתה גופת גבר שטבע מול חופי ברזיל. בדיקות DNA שנערכו לגופה לאחר מספר שנים גילו, כי מדובר באותו דוקטור רצחני, שמת משבץ בזמן ששחה בים.
כמו במקרה של ד"ר מנגלה, גם בשאר המקרים התלווית אל הדוד שלך? הרי כולם טוענים שאתה ממשיך הדרך שלו.
"תסתכל על התמונה (מצביע לי על אותה תמונה מוינה). ככה אנחנו כבר מגיל קטן. מגיל שנתיים הוא מחזיק לי את היד, ועכשיו אני החזקתי לו את היד. הרי כשהבן הבכור שלי נולד, קראתי לו רוני על שמו".
סיפור נוסף, שמראה את מידת התמדתו ועקשנותו של פרידמן, ניתן למצוא בסיפור בו הצליחו פרידמן וקנגון לאסוף מסמכים רבים מספריה בברלין. "יום אחד אומר לי הדוד שלי 'בוא ניסע לברלין. יש חוק מסוים לגבי הספריות, שטוען שאם עד שנה מסוימת האמריקאים לא רוצים לקחת את החומר איתם - זה נשאר אצל הגרמנים'.
"היה קולונל אמריקאי שקיבל 10 אלף דולרים, פלוס בונוסים לאשתו, כדי שיפנה את המקום. הגענו לשם בסוף שבוע, הבאנו צוות צילום, ולקחנו את כל המיקרו פילמים והמסמכים של הגסטאפו הגרמני שהיה שם. את הצילומים השארנו שם, כדי שלא יחשדו בכלום. הגענו לשגרירות בבון, ארתור היה השגריר, ומשם העברנו הכל למכון לדוקומנטציה בחיפה".
ואת כל המבצע הזה עשיתם רק שניכם?
"צריך לזכור שאת כל המבצעים הוא עשה לבד, ומפעם לפעם הוא ביקש שאני אעזור לו. הוא לבד, בלי שליחים. מפעל של בן אדם אחד, ואני רק עזרה קטנטנה לעתים".
את אייכמן דודך עזר ללכוד, מה בנוגע לאיוון דמיאניוק?
"לא היה לו בזה עניין, בעיניו דמיאניוק לא היה סחורה בכלל. הרי כמו דמיאניוק וגרועים ממנו היו עוד בעשרות אלפים".
נחזור רגע לבדיחה על שמעון פרס. פרידמן אמנם לא היה מוכר לציבור בארץ, אך בחיפה, בה בילה את רוב שנותיו, ידעו לתת לו את הכבוד הראוי לו, וב-2002 הוענק לו תואר יקיר העיר.
טוביה פרידמן צילום: באדיבות המשפחה
בכלל, נושא חיפה היה קרוב לליבו של פרידמן, ולכן, למרות בקשות מערים שונות בעולם, בחר את מקום מושבו, וגם את מכון הדוקומנטציה, בחיפה.
כעת אומר אחיינו, כי הוא הולך לשפץ את המקום ברחוב בן יהודה 31 בעיר, שהוזנח מעט בשנים האחרונות, ולהחזיר אותו לגדולתו. "דוד שלי תמיד אמר לי, כשהיינו טסים ברחבי העולם, שהחלום שלו הוא לקחת שתי פצצות אטום ולהפיל אותן על גרמניה. המסע שלו אף פעם לא נגמר".
לקראת סיום הראיון מקבל אמיר, לא איש קטן בכלל, שיחה, על הקו לשכת הנשיא, שמעון פרס, שהיה בקשרים טובים עם פרידמן עוד בחייו. אמיר לא מצליח להחזיק את עצמו, למשמע המחמאות מעבר לקו ודומע. כשאני שואל אותו מה הדבר הכי חשוב, שהוא רוצה שיזכרו מדודו - הוא משתנק בשנית, ונדמה בעיניי שוב כאותו ילד בן שנתיים, המחזיק ביד של דודו.
"אסכם זאת בשלושה משפטים: דוד מיוחד, דוד אחד ולעד אני אזכור אותך. זה מסכם את הכל מבחינתי. אין אחד כזה בכל כדור הארץ, שעשה מה שעשה הדוד שלי".
Birthday Wishes for Mom. - greetings-day.com/birthday-wishes-for-mom.html #Birthday, #BirthdayWishes, #ForMom, #HAPPYBIRTHDAY
el.kingdomsalvation.org/gospel.html
Ευαγγέλιο
Ο Θεός λέει: «Πού θα πας κάθε μέρα, τι θα κάνεις, ποιον ή τι θα συναντήσεις, τι θα πεις, τι θα σου συμβεί — μπορεί να προβλεφθεί τίποτε απ’ αυτά; Οι άνθρωποι δεν μπορούν να προβλέψουν όλα αυτά τα περιστατικά, πόσο μάλλον να ελέγξουν πώς θα εξελιχθούν. Στη ζωή, τα απρόβλεπτα αυτά γεγονότα συμβαίνουν όλη την ώρα και αποτελούν καθημερινό φαινόμενο. Τα καθημερινά αυτά σκαμπανεβάσματα και οι τρόποι που ξεδιπλώνονται ή τα μοτίβα σύμφωνα με τα οποία διαδραματίζονται, αποτελούν, για την ανθρωπότητα, συνεχείς υπενθυμίσεις πως τίποτα δεν συμβαίνει τυχαία και πως η εξελικτική πορεία που παίρνουν αυτά τα πράγματα και το αναπόφευκτο των πραγμάτων αυτών δεν μπορούν να μεταβληθούν από την ανθρώπινη θέληση. Κάθε συμβάν μεταφέρει μια νουθεσία από τον Δημιουργό στην ανθρωπότητα, ενώ στέλνει επίσης το μήνυμα πως τα ανθρώπινα όντα δεν μπορούν να ελέγξουν την ίδια τους τη μοίρα· την ίδια ώρα, κάθε γεγονός αποτελεί ανταπάντηση στην τρελή και άκαρπη φιλοδοξία και επιθυμία της ανθρωπότητας να πάρει τη μοίρα της στα ίδια της τα χέρια. Είναι σαν ισχυρά, επαναλαμβανόμενα ραπίσματα στην ανθρωπότητα, που αναγκάζουν τους ανθρώπους να επανεξετάσουν το ποιος είναι, εν τέλει, αυτός που κυβερνά και ελέγχει τη μοίρα τους. Επιπλέον, καθώς οι φιλοδοξίες και οι επιθυμίες τους καταπνίγονται και γκρεμίζονται ξανά και ξανά, οι άνθρωποι φτάνουν ανεπιτήδευτα σε μια ασυναίσθητη αποδοχή αυτού που τους επιφυλάσσει η μοίρα, μια αποδοχή της πραγματικότητας, του θελήματος του Ουρανού και της κυριαρχίας του Δημιουργού. Από τα καθημερινά αυτά σκαμπανεβάσματα έως τη μοίρα ολόκληρων ανθρωπίνων ζωών, δεν υπάρχει τίποτα που να μην αποκαλύπτει τα σχέδια και την κυριαρχία του Δημιουργού· δεν υπάρχει τίποτα που να μη στέλνει το μήνυμα πως “η εξουσία του Δημιουργού είναι κάτι που δεν υπερβαίνεται”, που δεν μεταφέρει την αιώνια αλήθεια πως “η εξουσία του Δημιουργού είναι υπέρτατη”. ...»
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Ευαγγέλιο βιβλία
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
Hear audio of the piano and see more images of John's piano's visit to Blacksburg
Read the CT article on the visit.
Read the www.roanoke.com/news/roanoke/wb/118512
9/11, The Oklahoma City bombing, Virginia Tech, the Watts Riots, the assassinations of Dr. Martin Luther King, Jr., Presidents Abraham Lincoln and John F Kennedy, all horrific acts of violence, all catastrophic, all senseless.
Imagine a world without violence, a world of peace. This sentiment echoes the lyrics to John Lennon’s 1971 song, “Imagine”.
The concept of the tour was conceived after the piano was showcased at the IMAGINE exhibition at Goss Gallery in Dallas, Texas, 2006
The photographs will feature in a book which will spread a worldwide message of peace, transcending time, cultures and boundaries.
The piano has been photographed at:
Dealy Plaza in Dallas, Texas where President John F Kennedy was assassinated on November 22nd,1963
Memphis, Tennessee. at the National Civil Rights Museum (previously the Lorraine Motel) where Martin Luther King Jr. was assassinated on April 4th, 1968
The Ford Theatre in Washington D.C., the site of President Lincoln’s assassination 142 years ago.
The Walls at Texas State Penitentiary in Huntsville, Texas, on the day of a prisoner’s execution.
The Oklahoma City National Memorial on the 12th anniversary of the bombing tragedy.
The site of the former Branch Davidian Compound where over 80 people died 13 years ago.
The home of Bill Clayton who committed suicide 12 years ago after being beaten by a gay hate gang.
www.youtube.com/watch?v=2pjKXc_gmx4
In Texarkana at the site where the Phantom Murderer killed his 1st two victims in 1946
Outside the Courthouse in Marion, West Memphis where the West Memphis Three were convicted.
Blacksburg, Virginia. The location of the Virginia Tech tragedy.
Future planned photographs to be taken in the US and UK, include the site of the World Trade Center attacks and London bombings.
“Kenny and George’s deepest wish is to imagine a world of peace, a world without violence,” said Caroline True, creative director. "The selection of these sites evokes a deep sense of emotion for everyone. Capturing these images of this special piano on which a song of peace was composed is the heart of this project."
Background
George Michael bought the Lennon piano at an auction in October 2000. Considered the most expensive piece of pop memorabilia, experts have estimated its value at US$8 million to $12 million. Michael and his partner, Kenny Goss, owner of Goss Gallery in Dallas, want to further strengthen the project’s peaceful message, by having “Imagine” performed on the piano at each stop. A video documentary and a published volume of the images are under development, with plans to donate proceeds to charity.
The song, “Imagine,” was first released in 1971 and was already John Lennon’s most famous post-Beatles song, but it took on a whole new life of its own following Lennon’s murder in December 1980. When first released, “Imagine” reached No. 3 in America and No. 6 in Britain but after Lennon’s death in December 1980, the song gave him a posthumous No. 1.
Lennon bought the piano in December 1970, had it delivered to studios at his home in Tittenhurst Park in Berkshire, composed and recorded “Imagine” on it. The piano is a simple upright style instrument, not the white piano which graced the cover of the album. In 1992, it was bought by a private British collector who put it up for auction in October 2000.
From www.lennonpiano.com/
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
Wreck of ML133 at Camasnagaul.
NN 09440 75247
This Motor Launch blew up on the morning of 11th May 1943 killing CPO Frank Hopkins who is buried in Glen Nevis
www.mbriscoe.me.uk/page11.html
The ML133 Disaster
Built by Lady Bee Ltd. Of Shoreham, Sussex, ML 133 was 75ft in length (cf. above) and was launched on November 18th 1940, commissioned on December 4 1940 and completed eight days later. The following account was written by Mr Christopher Wardle who was on board at the time:
The Death of the 133. (A very vivid Memory}
As it happened.....No bullshit...The real and true facts.
I was a crew member for the entire life of the boat, I joined it in England, sailed it to Scotland and we were the original ML Training Flotilla, the Flotilla consisted of several B class ML’s
The crew of all the B class ML’s at that time was 11 personnel. The 133 was the flotilla leader and carried a fully fledged CPO as coxswain, a Leading Telegrapher, a two-and-a-half ring (Lt Cdr) skipper, who incidentally at the time of the incident was in Inverness at a conference on fire-fighting.... would you believe. So the crew of all the flotilla of ML’s at the time consisted of The Captain, the 1st Lt...usually a very very young kid with one ring (Sub. Lt). Almost every Officer was ‘Wavy Navy’ (RNVR), the only regular navy on board was myself and the coxswain all the rest were Hos (Hostility Only).
We also had two ‘Mickey Mouses’ (Motor Mechanics), usually ex-garage mechanics and extremely competent guys, a telegraphist, who, since there was little on-air radio work served as the Officers flunky and above deck signalman, a Coxswain and 5 seamen, either ordinary or able seaman a total of 11.
It was a clear cold morning in May. The 133 was doing what was called guard duties. What we were guarding, I have no idea. But we asked no questions. We just did what we was told to do.
So the morning of the 11th May 1943 we were swinging around a buoy (near Camusnagaul) with a watchman on the upper deck protecting all the good folk at Fort William. Usually the coxswain poked his head into the mess deck and ‘Called the hands’, but for some reason he didn’t so I, as next in seniority did the honours.
One of the Motor Mechanics....Geordie... I think he was the oldest guy on board, maybe in his 40s ...very old to a young 23! Anyway he went into the engine room to start up a small motor we used for washing down the upper deck; always the first duty of the day. In the meantime the rest of the crew were either dressing, in the toilet, or trying to use the bathroom....all bleary eyed, ....Still no sign of the coxswain....very unusual. He was an extremely efficient CPO... no nonsense...ran the ship extremely well.
I was just in the middle of dressing when there was this explosion. I ran up the hatch to the upper deck. The 2 sides of boat had blown outboard from the wardroom to the forecastle and Geordie was laying on the starboard side groaning with one of his eyes hanging loose. Fire had engulfed the entire engine room. When Geordie had started the small motor there had been petrol fumes in the bilges and a spark must have caused the explosion and the fire.
He was in no condition to do anything; he was shocked and injured. The first thing was to call the coxswain CPO Frank (Polly) Hopkins... we battered on his door ...but no response. His door opened inward, refused to budge, think the explosion had lifted the bilge boards and jammed his door... But why wasn’t he answering? I just don’t know, we had nothing with which to smash his door, but we tried. In the end we all took to the upper deck....there was no panic...just a bunch of guys watching the fire getting bigger and bigger’
Being built of timber the boat stayed afloat tied up to the mooring buoy, even though both her sides had been blown almost flat against the water. Christopher continues….
‘The skipper was away. The young Jimmy (1st Lieutenant) was already in the water so I was the senior guy left and I told everyone to get into the water. We had no means at all to fight the fire, we couldn’t sink her , the sea cocks and all the extinguishers were in the engine room and there was no way we could help Geordie so we abandoned ship.
I swam towards the pier a mile away; it was bloody cold too! Some of the flotilla from around the corner obviously saw the smoke and dropped anchor and came a running. I was picked up by the 154. The sparker aboard was a friend, who took great delight hurling a lifebuoy at me before helping me aboard.
The big explosion came as we were swimming towards the pier; all the ammunition and the 100 octane petrol, 4000 gallons of it, I believe. The depth charges too probably went up. That was quite a bang. I heard later quite a few windows were lost in the town and whether this was true or not, I heard it said they found parts of the 3 pounder gun near the Ben!
From that point didn’t know what was transpiring. We were all taken to the base and fitted out (with dry clothing etc.) ‘cos we were all fairly naked having only just got out of our bunks, and in a couple of days we were all sent on leave. I was sent for by Commander Welman, the CO of the base who grilled me on what happened. He seemed more concerned with pages from the confidential books that had been washed ashore as they were supposed to be kept in a locked safe. He wanted to know how they were loose and floating around. I told him the 1st Lt had them out to make the new admiralty adjustments to them and hadn’t had time to replace them, I guess.
I served the rest of my time as an instructor at the base. I heard the divers had found the coxswain at the bottom of the Hatch, he had obviously made it out of his cabin but only as far as the hatch just outside his door. I was sent on leave and didn’t even get chance to go to the coxswains funeral.
Chris Wardle
May 2010
One of the boats which raced to the scene was the local ferry boat driven by local man Archie McLean. Having picked up a number of men from the water, Archie quickly realised that CPO Hopkins was still aboard. Manoeuvring his boat through the smoke and flames, Archie managed to get it alongside the stricken vessel. Despite being aware that it was full of high octane petrol, live ammunition and probably some depth charges too, he attempted to recue the missing man. As he was about to climb aboard, the second explosion occurred and the attempt had to be abandoned. Archie was awarded honorary membership of the Coastal Forces Veterans Association and was proud to attend the annual reunions of the Coastal veterans who visited the town thereafter.
Geordie, fortunately survived the accident and C.P.O. Frank Hopkins is buried in Glen Nevis. Unfortunately his wife watched the whole incident while not realising that her husband had been killed. Meanwhile, the wreck of ML 133 can still be seen on the Camasnagaul shore at low water.
MOST SECRET
407
War Diary
11.5.1943
Tuesday
HOME COMMANDS
Casualties and Defects
....
M.L.133
destroyed
Reporting total destruction by fire and
explosion of M.L.133 at her moorings at
Camusnagall at 0825/11 one C.P.O. Missing.
Propose holding board of enquiry in accordance
with K.R. and A.I. Articles 1130 and 1136.
(ST. CHRISTOPHER, 111212B)
www.freemasonry.org.il/alllodges.html
www.mastermason.com/GLIsrael/L4Holy-City/
www.google.com/search?q=17+ezrat+jerusalem+str+map
Jerusalem, the "City of Peace," is the city of David, King of Israel, who, in the 10th century BCE, unified the Holy Land under his rule and established Jerusalem as his capital. His son, Solomon, King of Israel, built a Temple to the G-d of Israel which became the archetypal Temple in Western thought and a central subject in Masonic tradition. King Solomon's Temple already appears in the Old Charges of Operative Masons used by medieval Lodges and many legendary and ritual features of various Masonic degrees are related to its construction and architecture.
For both Christians and Jews, Jerusalem is the focal point of the world, the place where heaven and earth touch each other (Heavenly and Earthly Jerusalem). In the middle ages, some maps show Jerusalem as the center of the world, with Europe, Asia, and Africa radiating from it like the petals of a flower. Jerusalem is mentioned in the Old Testament no less than 656 times, in addition to other appelations such as "The Holy City," "The City of Truth," "The City of G-d," "The City of Peace," etc.
In 586 BCE, King Solomon's Temple was razed by Nebuchadnezzar. A second Temple was erected by Jews returning from the Babylonian exile in the 5th century BCE and was rebuilt and greatly enlarged by King Herod around the time of Jesus. The Western Wall (formerly known as the "Wailing Wall") is a striking remnant of the Herodian temple. After the reunification of Jerusalem in 1967, the whole area has been opened up and now a large section of the wall has been exposed, part of which can be followed through underground passages. Some of the huge Herodian ashlars are among the largest construction stones in the world.
Beneath the wall encircling the Old City, there is a deep cavern known asKing Solomon's Quarries. This was used in old times to quarry the characteristic yellow Jerusalem stone. In this cave took place, on May 13, 1868, the first recorded Masonic ceremony in the Holy Land. A group of Freemasons led by Robert Morris (Past Grand Master of Kentucky) held a meeting in the Secret Monitor Degree. At present, the cave is used to hold a Mark Master degree once or twice a year, usually conducted in English and attended by numerous Brethren from abroad.
The newly opened Museum of the History of Jerusalem, at King David's Tower, near the Old City's Jaffa Gate, gives a fascinating account of the city's 3000-year history. Other places in Israel with strong masonic connections, such as Jaffa (Joppa) and Acre (Templars), are within driving distance of Jerusalem.
There are eight Lodges working in Jerusalem, all of them under the jurisdiction of the Grand Lodge of the State of Israel. Most work in Hebrew, but there is one working in English (Holy City Lodge #4). The Masonic Temple is located at 13 Ezrat Israel Street, off the main thoroughfare of the New City, Jaffa Road. Other attractions in Jerusalem include the Israel Museum, where the original Dead Sea Scrolls are in exhibition, among many fascinating archeological discoveries, some of them thousands of years old. The world-famous Yad Vashem memorial perpetuates the memory of the victims of the Holocaust. The recently-opened Bible Lands Museum explores the history, art, and architecture of the Holy Land throughout the ages.
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
Lake Waramaug
www.stateparks.com/lake_waramaug.html
www.flickr.com/photos/corbettjames/5121821489/in/photostr...
Lillinonah’s Leap
Reprinted From:
Legendary Connecticut
Traditional Tales from the Nutmeg State
By David E. Philips
www.friendsofthelake.org/downloads/lillinonah_leap.200312...
When the English colonies in New England were very young, there was hardly an Indian
between the Hudson and the Penobscot Rivers who did not know about Chief Waramaug,
the great sachem of the Pootatuck tribe of western Connecticut. Not only was he
respected far and wide for his courage, wisdom and charismatic leadership, but also
admired by all for his magnificent hilltop headquarters overlooking the Housaronic River,
not far above the present town of New Milford. Called “Waramaug’s Palace,” the
structure was said to have been at least twenty feet wide and a hundred feet long, a “long
hours,” indeed, and unquestionable the largest Indian building ever constructed in New
England.
Made from bark and logs which had to be carried for many miles (mostly up hill) on the
backs of the artisans who built it, Warmamaug’s Palace was famed both for its
architectural grandeur and its ornate interior decoration. It is said, for example, that the
wall of the cavernous main council chamber were covered with colorful painting of the
chief, member of his family, his councilors and judges, while smaller apartments were
adorned from floor to ceiling with pictures of all the beasts, birds, reptiles and insects to
be found in the land of the Pootatucks. The best Indian artists, many loaned to
Waramaug by the chiefs of distant tribes, labored for months to complete the unique
administration building and museum of primitive art.
As proud as Waramaug was of his imposing palace, he was even prouder of the light of
his life, his lovely daughter, Lillinonah. Taught from birth to cultivate those virtues most
revered by her father – compassion for one’s fellow man, loyalty to family and tribe and
sensitivity to the beauties of Nature – Lillinonah was, at the age of eighteen, a young
woman whose humanity matched her grace and beauty. From near and far the young
braves came, as moths to the flame, to pay homage to Lillinonah – and perhaps win her hand in marriage. But first, of course, each had to pass muster with old Waramaug, and
that was no simple matter.
Not it happened that on a cold and wintry day, as Lillinonah was out waling in the woods
high above the swift rapids of the Housatonic, she came upon a handsome young white
man wandering aimlessly through the forest, stumbling occasionally and falling to his
knees before rising once more and continuing on. It was obvious to the Indian maiden
that the man was sick with cold and fever, weak of body and confused of mind. With pity
in her heart for the suffering stranger, she offered to assist him back to the village of the
Pootatucks, where he might find rest and treatment for his illness. When the white man
nodded his assent, she slowly walked him to her home, though he had to lean heavily
upon her for support, lest he collapse in the effort.
Although the elders of the village did not approve and did nothing to help her, Lillinonah
nursed the stricken Englishman through all the rest of the long, cold winter, seldom
leaving his side. As spring came to the encampment of the Pootatucks, he was well
along the road to recovery, thanks to the care of his attentive nurse and the good
medicine which she had provided. With the blossoming of the mountain laurel on the
banks of the Housatonic, love, too, bloomed in the house of Lillinonah. As the beautiful
daughter of Waramaug gazed with undisguised affection into the eyes of the man whose
life she had saved, she saw that he returned her adoration with unaffected ardor.
When summer came, the two young lovers finally decided that they must got to Chief
Waramaug, for a love as deep as theirs must be consummated by marriage. The great
sachem’s reaction, however, was as they both expected: he was very angry. With all the
eligible Indian suitors for miles around still beating a path to her door, how dare Lillinonah
ask for his blessings on a union with a white man, an unknown stranger whose culture
was so different from her own? Was it not true that the paleface despised the Indians,
regarding them as little better than the savage beasts of the forest? No, said Waramaug,
never would he sanction Lillinonah’s marriage to such a man.
But Lillinonah refused to eat or drink. Her once lovely face turned sallow and she began
to shrink before the very eyes of her distraught father. As summer waned, the once
beautiful daughter of Waramaug became a pale shadow of her former self, so great was
her pain and powerful her will. Finally, although he still regarded marriage between his
daughter and a white man as a burden almost too heavy to bear, Waramaug relented.Reluctantly, he consented to the marriage of his beloved Lillinonah to the man she had
found lost in the woods on that long ago winter’s day.
Before the marriage could take place, the betrothed couple agreed, the fair young man
should return to his own people, to let them know that he was still alive and well, and to
tell them of his plans to wed Lillinonah and live for the rest of his life in the company of the
Poootatucks. Both lovers realized that his people would urge him not to go back to his
lovely Indian princess. They would remind him that there were plenty of young English
women in the colonies just looking for a husband as attractive as he was. What right had
he to wed a dusky maid from a foreign and inferior race? But he promised Lillinonah that
no argument would ever persuade him to break his vow to marry. After one final winter
with his own people, he would return to Lillinonah – in the early spring. Sadly, he took his
leave.
The autumn passed, and winter, too, and as the first green began to show in the hickory
and oak along the Housatonic, Lillinonah bedecked herself with the wild flowers of the
forest as she waited in happy anticipation for her lover’s return. But summer came and
went, the reds and yellows of autumn showed bright on the trees, and still the young
Englishman had not come back to the land of the Pootatucks. Lillinonah no longer sand a
joyous song. There were no more flowers in her hair. Wan and listless, she wandered
through the woods, her eyes red-rimmed from weeping, searching and hoping against
hope that she had not been forgotten.
Chief Waramaug watched sadly as once more his daughter’s health began to fail and her
usually happy disposition to run morose under mounting waves of despondency.
Perhaps, he thought, he might bring her back from the brink of depression if he could only
interest her in a young man of her own race. So, unknown to Lillinonah, Waramaug
arranged a marriage for her with Eagle Feather, one of the brightest, most promising
braves in the Pootatuck tribe. Surely, such a fine youth as he, could give Lillinonah
something to live for.
But word reached Lillinonah of her father’s arrangement with Eagle Feather – and she
reacted immediately. Down on the shore of the Housatonic River, now rapid and swollen
with the heavy rains of autumn, she climbed into a canoe and shoved off into the teeth of
the roaring current. As the canoe was carried faster and faster toward the turbulent waters above the dangerous falls of the river, Lillinonah tossed away her paddle and sand
back in the bottom of the canoe to await her fate.
Then, high on a crag jutting over the river just above the cataract, she saw him! Her lost
lover had not forgotten. Even above the roar of the water she heard him call her name.
She stood in the canoe, waved her arms and screamed for help. Though he knew his
chances of saving his beloved were slim at best, the young Englishman did not hesitate
for a moment. He leaped from the overhanging bluff and plunged into the whitened
water, just as Lillinonah’s canoe struck a rock in the middle of the river and capsized,
spilling her into the frothy current. Swiftly as he could, he swam to her side and clasped
her body to him. Alas, neither realized that it was already too late. Still wrapped in loving
embrace, the doomed pair disappeared into the boiling falls and were crushed to death as
they were hurled to the rocks in the broad pool below.
They say that when the battered bodies of the star-crossed lovers were finally found, they
were still locked in each other’s arms. Noble, even in deepest mourning for his lost
Lillinonah, Chief Waramaug ordered that his daughter and her white lover be buried side
by side, contrary to Indian tradition, on the top of a hill overlooking the narrow gap of the
Housatonic River non known as Lover’s Leap. And when old Waramaug finally joined his
ancestors many dad years later, legend says that he, too, was laid to rest near the illfated
couple.
Though the tragic life of Lillinonah ended centuries ago, her legend will never be
forgotten. Any Connecticut map will show that the wide portion of the Housatonic River
which stretches for mils below the narrow rapids where the lovers met their deaths is, to
this day, still called Lake Lillinonah.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
www.palais.mc/en/museum-and-visits/the-cars-collection-of...
The Cars Collection of H.S.H. the Prince of Monaco
At the end of the 1950s, the car enthusiast Prince Rainier III began collecting old cars. His collection gradually grew over the years as he acquired more and more models, and the garage at the Prince's Palace soon emerged as too small to contain this collection of around a hundred stunning streamlined and sporty cars, from majestic body work to gleaming hoods and regal radiator grills!
In 1993, Prince Rainier III therefore decided to open his precious collection to the public.
Located on the Terrasses de Fontvieille, the exhibition spans 5 000 m2 and is unique in the world, bringing together around a hundred-odd different cars, from a 1903 DE DION BOUTON to the 2013 LOTUS F1 via HISPANO SUIZA, ROLLS ROYCE, LINCOLN, FACEL VEGA, DELAGE, DELAHAYE, PACKARD, HUMBER, NAPIER, FERRARI, MASERATI, LAMBORGHINI, ALFA ROMEO, the LEXUS used for the royal wedding in 2011, and without forgetting the racing cars seen at the Monte Carlo Rally and the Formula 1s from the Monaco Grand Prix.
The Car Collection of H.S.H. the Prince of Monaco will host a unique exhibition of Ferrari vehicles from 3 December 2018 to 15 March 2019.
Founded by Enzo Ferrari in 1947, in Maranello in Italy, the cars with the prancing horse have left their mark on automobile history on road and circuit. Manufacturer of race and sports cars, Ferrari quickly became an automobile benchmark, both technically and aesthetically.
At this exhibition, unique, around 50 of competition and sport cars, the most iconic of the brand, which built the Ferrari legend and which millions of fans dream about, will be brought together in the Principality for four months.
For more information, please consult the Website of the Cars Collection of H.S.H. the Prince of Monaco: www.mtcc.mc
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples, Friends, Nature Lovers, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 2: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 3: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 4: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 5: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
First breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
This animation, made up of eight Envisat radar images, shows the 97-km long B-9B iceberg (right) ramming into the Mertz Glacier Tongue in Eastern Antarctica in early February 2010.
The collision caused a chunk of the glacier’s tongue to snap off, giving birth to another iceberg nearly as large as B-9B. The new iceberg, named C-28, is roughly 78-km long and 39-km wide, with a surface area of 2500 sq. km (the size of Luxembourg).
The Advanced Synthetic Aperture Radar (ASAR) on ESA's Envisat satellite took these images from 10 February to 4 March with a spatial resolution of 150 m. ASAR can see through clouds and local darkness and is capable of differentiating between different types of ice.
For more information
Image of the week: 5 March 2010
Credits: ESA
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]
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#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
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Axe.
Iron.
The hole in the shaft in the upper part of the axe is damaged.
Björkö, Adelsö, Uppland, Sweden.
SHM 5208:307
Sunday's True Blood premiere answered at least one burning question: Is Lafayette alive? Answer: Yes! Nobody is more surprised by this turn of events than Nelsan Ellis, the actor who plays Lafayette.
As a fan of the Sookie Stackhouse novel series, on which Alan Ball based the vampire drama for HBO, Ellis knew that Lafayette, Merlotte's wisecracking cook — and part-time pornographer/drug dealer — is totally dunzo after Book 1. When he arrived on set for the finale episode's table read, he prepared himself for the end. "I thought, this was fun, time to look for the next gig," he says.
But then... what's this? That painted toenail in the car didn't belong to Lafayette after all! "'You know we're not going to kill you, right?'" Ellis remembers Ball telling him. "And I was like, 'Noooo...'" Ball told the actor that he decided to keep Lafayette in the cast after shooting a scene between Ellis and Rutina Wesley, who plays Lafayette's cousin, Tara, in the pilot episode. Ellis and Wesley have combustive chemistry for sure, which Ellis attributes to their long friendship. (They attended Juilliard together in the early '00s.)
So now that Lafayette has been spared, what's next for the flamboyant entrepreneur?
When we last saw him, he was chained up in a dungeon watching a fellow prisoner get disemboweled by a very cranky Eric, his vampire captor. Ellis reveals that, this season, Lafayette's fate will be inextricably tied with that of the vampires, but that their relationship won't always be quite as adversarial. "[Lafayette] stays with the vampires basically throughout the season," he says. "I guess how deep down the rabbit hole he goes with Eric is the biggest teaser I can give."
"Eric makes people beholden to him," says Ellis. "He did it to Sookie, and now he does force Lafayette to work for him to repay him for something he's done for him." Oh jeez, Lafayette isn't going to become a vampire, is he? Not any time soon, says Ellis. "I have a sneaking suspicion that, in the future, the vampires are going to learn to respect him and not mess with him," he says. "He's going to find a way to elevate his position with them. Lafayette is a survivor, so he's not going to stay in this scared state too long." Excellent!
From the website...
www.encinojon.com/greg/johnhub.html
JOHN CARL HUBINGER (1851-1907)
HUBINGER, JOHN C., manufacturer, millionaire and public benefactor, is one of the most remarkable men of this country; a Napoleon in business affairs, a man of destiny, through his own indomitable will, tireless energy and brilliant genius he has built up a magnificent structure on a financial foundation as solid as the rock of Gibraltar.
Mr. Hubinger was born in New Orleans, La., forty-six years ago, and is the son of John F. Hubinger, who was born in Bavaria, in 1828, and still survives, as well as his mother, who is a native of France.
It will this be seen that Mr. Hubinger, having been born in Louisiana, is a Creole, a term peculiar to the state, and having the same significance as Buckeye to those born in Ohio, or Nutmegs to those who first saw the light of day in Connecticut.
At the age of 4 his family moved north and at Falmouth, Ky., young Hubinger received in the public schools the first and only educational training he ever received from any school system; this experience covered about four years of study, and he applied himself so closely that he got a fair foundation, which he has since built on by private study and observation, until to-day he can be considered a well informed man outside of business matters, in which he excels.
His career has been an eventful one, full of exciting incidents, and it is a remarkable fact that he was 30 years of age before he amassed his first thousand dollars, having innumerable ups and downs in life, but never despairing and always aggressive.
It would require a volume the size of this to recount a history of his life from the time he started out to earn a living up to the present time when he controls millions of business interests, and is at the zenith of his usefulness. We will not attempt anything more than a passing notice of such facts as will interest his friends.
Of an inventive turn, he secured several patents which he sold to more or less advantage, and tried innumerable schemes at one time or another, succeeding at times and losing at others his little capital, through the boldness of his methods.
The idea of Elastic starch came to him years ago, when he acted as agent for a starch concern, and he had it constantly in mind, eventually arriving at the secret which he holds alone to-day, and which has make Elastic starch the most popular in the market.
In connection with his two brothers he founded the Elastic Starch company, at New Haven Conn., under the name of The J. C. Hubinger Bros.' Co., and at a later period opened another factory at Keokuk, Iowa, where he subsequently amassed a large fortune and became known as one of the most enterprising and public spirited citizens in the state.
In the west his interests are colossal, as well as the ventures which he has made successful; among his holdings being large tracts of real estate, improved and unimproved, in different parts of the western country.
He is owner of the Keokuk street railway system, the electric light plant and system, the Mississippi Valley Telephone company, capitalized at $2,225,000. This takes in a large number of cities in that section, and is the most dangerous and largest competitor of the Bell Telephone company in America, having over 10,000 telephone subscribers.
A man of rare executive ability, he finds time to personally direct the policy of all the enterprises in which he is interested, and at the same time to evolve many more brilliant schemes of a local nature, all of which are put through in a practical and successful way.
The magnitude of his transactions almost surpass belief; in the starch business they dispose of about 25,000,000 packages each year, the legitimate profits from which are enormous, and in other ways he handles not less than $3,000,000 annually.
His liberality is the marvel of the country in which he is known, and at his palatial home, overlooking the historic Mississippi river, he and his charming wife dispense a boundless hospitality to those fortunate enough to be their guests. All the luxuries and benefits that wealth can procure are there supplied, and an atmosphere of culture and refinement pervade the entire establishment.
Mr. Hubinger's family consists of himself, wife and four children, and while fond of promoting large enterprises, he is still fonder of the home circle and there spends all of his time that is not taken up by business cares.
-- Gue, B. F. Biographies and portraits of the progressive men of Iowa Des Moines : Conway & Shaw, 1899. Pages 256-257.
CHRONOLOGY
Born in March 1852 in New Orleans, LA.
Moved to Falmouth, KY, then to Keokuk, IA.
First jobs: laborer for Tim Ford, a railroad contractor; also a broom maker.
Moved to New Haven, CT.
Developed "Elastic" laundry starch in 1871, and sold it door to door by bicycle.
Joined by his two brothers, he founded the J.C. Hubinger Bros. Co.
Married Sadie Watts July 16, 1884.
Moved back to Keokuk in 1887 (1885?)
Established first Keokuk factory at 208 Main sometime after August 1887.
Built mansion on Grand Ave. Across the street was Hubinger Park.
Built a telephone exchange at Sixth and Blondeau; expanded during the 1890's.
Owner of the Keokuk Electric Railway System, the Electric Light and Power plant,
the Mississippi Valley Telephone Company, and many other investments.
Second marriage to Viola Miller in June 1896.
In 1900 business was so successful, he reopened the J.C. Hubinger Co. factory
on Bank St., introducing "Red Cross" and "Hubinger's Best" brand starches.
In the following years, however, the company went downhill as the use of
starch in clothing went out of style.
Died in near-poverty January 27, 1908 in a boarding house on High St.
Was buried in Oakland Cemetery, Keokuk, IA.
The Hubinger family sold the Keokuk starch factory in 1926; today, the
Hubinger company produces a wide variety of corn products including
starch, oil and syrup.
twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.(Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine À Saint-Étienne comme ailleurs, les raisons de la réalisation de constructions si modernes durant les Trente Glorieuses relèvent en partie de la réponse donnée à la crise du logement et de la réorganisation industrielle du pays (fixation de la main-d’œuvre, industrialisation du BTP). Mais il faut aussi y voir la traduction physique d’un projet sociopolitique moderne porté par un État centralisateur et des pouvoirs publics puissants (Tomas et al. 2003 ; Dufaux et Fourcaut 2004 ; Veschambre 2011). Le pays est alors dans une période où les aspirations et idéologies portent vers la construction d’une nouvelle ère urbaine, avec ses ambitions (le bien-être, l’hygiène…), et en rupture avec les difficultés d’alors (le taudis, la maladie, l’individualisme…). www.metropolitiques.eu/Les-representations-complexes-des.... les textes de Rachid KADDOUR @ Le logement, jusqu’ici inconfortable et insuffisant, devient l’un des axes majeurs d’intervention : plus de huit millions d’unités sont construites durant la période. La forme de ces logements se doit d’être aussi moderne que le projet. De grands noms et une nouvelle génération d’architectes sont mobilisés. Ceux-ci dessinent des formes géométriques épurées et, dans les opérations importantes, les évolutions techniques leur permettent de multiplier les signaux que sont les longues barres ou hautes tours autour desquelles se structurent les autres immeubles. Comment la tour Plein-Ciel a-t-elle pu passer de symbole de modernité à « emblème d’un désastre urbain » condamné à la démolition ? Tout d’abord, une partie des équipements de la ZUP et la moitié seulement des logements sont réalisés, du fait de prévisions démographiques non atteintes (Vant 1981 ; Tomas et al. 2003). L’inachèvement accentue les désagréments de la situation à six kilomètres du centre, derrière des infrastructures lourdes. Ensuite, tout au long des années 1980 et 1990, la population de Montreynaud se paupérise (départ des plus aisés vers la propriété, montée du chômage) et « s’ethnicise », avec pour effet, suivant des mécanismes analysés ailleurs (Tissot 2003 ; Masclet 2005), que le regard porté sur elle change : dans les discours politiques et la presse, Montreynaud acquiert l’image d’un quartier dangereux. Dès lors, le quartier entre dans les réhabilitations puis la rénovation [6], mais sans effet important sur la vacance, la pauvreté, l’échec scolaire, la délinquance ou les discriminations. Pour de nombreux Stéphanois, il devient un « là‑haut » [7] relégué. La tour devient le symptôme visible de cette dégradation. Des rumeurs se diffusent dès les années 1970 sur sa stabilité et l’isolation du château d’eau [8]. Dix ans après sa livraison, seuls 50 des 90 appartements sont vendus. Cette vacance conduit à l’aménagement d’un « foyer de logements » pour personnes dépendantes psychiatriques qui accentue l’image d’un quartier de relégation. La gestion difficile du foyer et les problèmes financiers d’une partie des propriétaires amènent à classer la copropriété comme « fragile » en 2002. Une étude indique que la démolition « aurait un impact positif sur la requalification du parc de logements du quartier et permettrait également de promouvoir un changement d’image du site » [9]. Le dernier habitant est relogé fin 2008. Acte 3 : la tour Plein-Ciel, monument symbole de Saint-Étienne D’autres images du corpus indiquent toutefois que, à partir des années 2000, l’image stigmatisée de la tour Plein-Ciel comme emblème d’un grand ensemble en difficulté entre en tension avec une autre image plus valorisante d’édifice symbole de Saint-Étienne. En en faisant l’un des théâtres stéphanois de sa saga, Sabri Louatah reconnaît à la tour Plein-Ciel une place particulière dans la ville. Cette représentation se retrouve, de manière beaucoup plus consciente et militante, dans d’autres productions artistiques durant les années 2000. La tour est notamment représentée sur les affiches du festival Gaga Jazz. Si le festival se veut d’ampleur régionale, son nom montre un ancrage stéphanois – le « gaga » désigne le parler local. Le choix d’identité visuelle va dans le même sens : il s’agit « d’utiliser l’image d’un bâtiment symbole à Saint-Étienne » [10]. Pour les graphistes, la tour s’impose, parce qu’elle est « un monument connu de tous les Stéphanois ». Un monument qui a les honneurs d’une carte postale en 1987 [11], et qui, comme il se doit, est abondamment photographié. Jacques Prud’homme, par exemple, la montre sur plusieurs sténopés visibles sur son blog [12]. Pour lui aussi, la tour est l’un des « symboles de Saint-Étienne ». Saint-Étienne, ville industrielle durement frappée par la crise du logement, est exemplaire du mouvement. Les grands ensembles s’y multiplient. Implantés sur des sommets de collines aux entrées de la ville, ils doivent signifier le renouveau. Montreynaud, « nouvelle petite ville à part entière » [3], joue de ce point de vue un rôle clé. Sa tour, en sommet de colline et dont le château d’eau est illuminé la nuit, en est l’emblème, un « symbole de la modernité » [4]. La tour doit son nom au fait de proposer « des appartements en plein-ciel » [5], et l’on peut voir dans cette dénomination une valorisation de la verticalité, à la fois comme source d’oxygène et de lumière, mais aussi comme signal urbain.
Acte 2 : la tour Plein-Ciel, symbole d’un grand ensemble en difficulté Si l’on classe chronologiquement le corpus d’images identifiées, la tour Plein-Ciel ressurgit significativement dans les champs de la communication institutionnelle et des arts au tournant des années 2000‑2010. Dans la littérature, l’intrigue de la saga Les Sauvages de Sabri Louatah débute à Saint-Étienne, et la tour Plein-Ciel en est un cadre important :
Pourquoi la tour Plein-Ciel a-t-elle pu être ainsi considérée comme « un monument ancré dans le paysage stéphanois » [13] ? La combinaison peut-être unique en France d’une tour d’habitation à un château d’eau en fait un édifice singulier. Couplée avec son implantation en sommet de colline, cette singularité fait de la tour un point de repère important pour les Stéphanois, mais aussi pour les nombreux supporters de l’AS Saint-Étienne qui se rendent au stade, dont elle est voisine. D’ailleurs, la tour est utilisée comme édifice emblème de la ville sur au moins un autocollant et un tifo de supporters, aux côtés des symboles miniers (chevalement, « crassiers ») et du stade Geoffroy-Guichard. Cette représentation faisant de la tour un « monument » aurait pu sauver l’édifice, suivant un mécanisme, classique dans l’histoire du patrimoine, de défense devant une menace de démolition. De nombreux Stéphanois réagissent, et, pour l’association Gaga Jazz, « les affiches et flyers invitant les Stéphanois aux concerts de jazz font aussi office d’actes de revendication pour la conservation ». La nouvelle équipe municipale socialiste de Maurice Vincent, élue en 2008, reconnaît que la tour « représente un symbole » [14]. Elle soumet en 2010 au vote des habitants de Montreynaud deux possibilités : développer la valeur et la fonction de repère de la tour en la transformant en « symbole artistique de la ville de Saint-Étienne » [15] via l’intervention d’un plasticien, ou bien la démolir et aménager un parc : 71 % des votants se prononcent pour la démolition, soit 230 personnes sur les 318 votants. Les défenseurs de la conservation expriment un double regret : l’ouverture du vote aux seuls habitants de Montreynaud, et la très faible mobilisation de ces derniers. La démolition de la tour a lieu le 24 novembre 2011. Son foudroyage la met une dernière fois sous les projecteurs des nombreux appareils audiovisuels présents. Les images produites s’ajoutent à celles existantes, et constituent autant de traces d’un immeuble dont il n’en reste plus aucune sur le terrain. Cette fin dramatique donne à cette chronique des allures de représentation théâtrale, en trois actes : naissance puis mort de l’édifice, avec un ultime soubresaut sous la forme d’une tentative vaine de sauvetage au nom du patrimoine. C’est une troisième définition du terme de représentation qui est mobilisée dans cette conclusion. Ce sont en effet des représentations, en images et en mots, qui ont permis de constituer cette chronique de la tour. Cette dernière révèle que trois représentations mentales sont associées à l’édifice et à sa verticalité : pour la puissance publique ayant commandé sa réalisation et pour les premiers résidents, la tour est un symbole de modernité ; pour une partie des Stéphanois, mais aussi pour les acteurs ayant décidé sa démolition, elle est l’emblème d’un grand ensemble stigmatisé ; et enfin, pour d’autres Stéphanois, habitants de Montreynaud ou artistes entre autres, la tour est un objet phare et patrimonial dans le paysage de Saint-Étienne. Aux côtés, par exemple, de la Tour panoramique à la Duchère (à Lyon), qui a été profondément rénovée, cette mise en évidence de la trajectoire des perceptions de la tour Plein-Ciel permet d’expliciter que la verticalité dont nos villes ont hérité, tout du moins celle présente dans les grands ensembles, fait l’objet d’un système de représentations complexe et en tout cas plus varié que celui présenté dans les discours de légitimation de la rénovation urbaine.
Bibliographie Dufaux, F. et Fourcaut A. (dir.). 2004. Le Monde des grands ensembles, Paris : Créaphis.
Louatah, S. 2011. Les Sauvages, tome 1, Paris : Flammarion–Versilio. Masclet, O. 2005. « Du “bastion” au “ghetto”, le communisme municipal en butte à l’immigration », Actes de la recherche en sciences sociales, n° 159, p. 10‑25.
Tissot, S. 2003. « De l’emblème au “problème”, histoire des grands ensembles dans une ville communiste », Les Annales de la recherche urbaines, n° 93, p. 123‑129.
Tomas, F., Blanc, J.-N. et Bonilla, M. 2003. Les Grands Ensembles, une histoire qui continue, Saint-Étienne : Publications de l’université de Saint-Étienne.
Vant, A. 1981. Imagerie et urbanisation, recherches sur l’exemple stéphanois, Saint-Étienne : Centre d’études foréziennes. Veschambre, V. 2011. « La rénovation urbaine dans les grands ensembles : de la monumentalité à la banalité ? », in Iosa, I. et Gravari-Barbas, M. (dir.), Monumentalité(s) urbaine(s) aux XIXe et XXe siècles. Sens, formes et enjeux urbains, Paris : L’Harmattan, p. 193‑206.
Notes
[1] Extraits tirés du film Saint-Étienne, on en parle (Atlantic Film, 1970) associé à l’exposition.
[2] Dont Les grands travaux à Saint-Étienne, ville de Saint-Étienne, 1974.
[3] Brochure publicitaire Montreynaud, Saint-Étienne, résidence les Hellènes, non daté.
[4] Propos tenus par un habitant installé dès l’époque.
[5] Brochure publicitaire Des appartements en plein-ciel. La tour de Montreynaud, non daté.
[6] Avec, dans un premier temps, le grand projet de ville (GPV) en 2001, puis la convention avec l’Agence nationale pour la rénovation urbaine (ANRU) en 2005.
[7] Expression régulièrement entendue lors des entretiens.
[8] « Le château d’eau : mille m³ qui ne fuiront pas », La Tribune, 17 novembre 1978, p. 14.
[9] Lettre d’information aux habitants de Montreynaud, ville de Saint-Étienne, mai 2003.
[10] Entretien avec Damien et Sébastien Murat (DMS photo), graphistes.[14] Propos de l’adjoint à l’urbanisme, « Tour Plei
« La tour Plein-Ciel se dressait avec une majesté sinistre au sommet de la colline de Montreynaud […]. À l’aube du XXIe siècle, sa démolition avait été plébiscitée par les riverains […]. La célèbre tour au bol était visible depuis la gare en arrivant de Lyon, et beaucoup de Stéphanois la considéraient […] comme le point doublement culminant de la ville : du haut de ses soixante-quatre mètres qui dominaient les six autres collines mais aussi en tant qu’emblème, d’un désastre urbain éclatant et d’une ville résignée à la désindustrialisation » (Louatah 2011, p. 89).Cette description exprime bien la situation dans laquelle la tour se trouve à la rédaction du roman : en attente de démolition. En 2011, les photographies de Pierre Grasset (voir un exemple ci-dessous), missionné par la ville, montrent l’édifice moribond. L’image de la tour est en France encore fortement attachée à celle du logement populaire, du fait notamment de la présence de ce type d’édifice dans les grands ensembles. Or, si l’on parle des tours d’habitat populaire depuis 2003, c’est essentiellement à propos des démolitions : l’Agence nationale pour la rénovation urbaine (ANRU) incite les bailleurs à détruire prioritairement dans les zones urbaines sensibles les immeubles les plus imposants, dont les tours les plus hautes. Mais l’image négative du « problème des banlieues » et de ses dysfonctionnements est-elle la seule associée aux tours d’habitat populaire ? Ne tend-elle pas à laisser dans l’ombre d’autres représentations attachées à ces édifices ?Une réflexion sur la tour Plein-Ciel à Saint-Étienne est, sur ces points, riche d’enseignements. Tenant une place prépondérante dans le paysage stéphanois, emblématique de l’image des grands ensembles, cette tour édifiée en 1972 est démolie en 2011. La constitution et l’analyse d’un corpus d’une dizaine d’images promotionnelles et artistiques (films, photographies de communication) la mettant en scène permet d’en établir une chronique. Cette dernière met en évidence un système de représentations complexe : tout au long de ses quarante ans d’histoire, l’édifice est en effet perçu comme symbole de modernité, emblème de grand ensemble en difficulté et monument dans le paysage stéphanois. Ces deux dernières représentations, l’une stigmatisée, l’autre valorisée, coexistent même lors des dernières années de la vie de l’édifice. Dans toutes ces représentations différenciées et concurrentes, la verticalité de l’édifice tient un rôle essentiel.Acte 1 : la tour Plein-Ciel, symbole de modernité L’image la plus ancienne identifiée date de 1970. Il s’agit d’un cliché de la maquette de la zone à urbaniser en priorité (ZUP) de Montreynaud, pris sur le stand de l’exposition « Saint-Étienne demain » de la Foire économique. Cette exposition vante les grandes opérations d’urbanisme en cours dans la ville, et vise à montrer « les transformations de la cité et son nouveau visage », afin de rompre avec la « légende de ville noire, industrielle et fixée dans le XIXe siècle » [1]. L’exposition fait partie d’une communication orchestrée par le maire Michel Durafour (1964‑1977). À partir de 1973, les reportages photographiques ou les films [2] mettent à l’honneur Montreynaud (jusqu’à 4 400 logements prévus) et en particulier sa tour Plein-Ciel (par l’architecte Raymond Martin), avec sa verticalité (18 niveaux), le château d’eau qui la coiffe et sa situation en rupture avec la ville ancienne. -La Tour Réservoir Plein Ciel était un immeuble de logement situé à Saint-Étienne, dans le quartier de Montreynaud, classé en zone urbaine sensible. Elle culminait à 63 mètres de haut (92 avec l'antenne).
La tour avait été construite en 1972 par l'architecte Raymond Martin, l'antenne de 63 mètres de haut reste jusqu'en 1992 avant de retour en 1996 afin de répondre à la demande considérable en logements. Elle était considérée comme un symbole du quartier. Visible de loin, elle permettait de repérer le quartier dans la ville.Sa destruction a été effectuée le 24 novembre 2011 à 10 h 45 par foudroyage, après le vote majoritaire (73 %) en faveur. --------------------------------------- Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962 ..missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695... Mémoire2cité Mémoire2Ville Mémoire de l'Habitat,içi la page listant mes 43 albums photos disponibles, çe x 1000 pour chacuns d'entre eux ..Merci aux 5859 followers qui porte une attention particuliere à nos quartiers..la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Levittown: The Construction and Systematic Execution of Discrimination in Modern Suburbia (NHD 2018) www.youtube.com/watch?v=9_KrD6PkX0M … … 17000 maisons en 2 ans un record dans l histoire des annees 60 @ la grande Acceleration @ Un point de bascule avec le changement de regime d'existence les 30 glorieuses americaine @ la constructions de masse.., ici LEVITTOWN a LONGISLAND, 17000 pavillons en 2 ans un Record...Yes this is it my Our Home Town: Levittown, PA (1954) - www.youtube.com/watch?v=9_KrD6PkX0M les 30 glorieuses atomique @ le projet PLOWSHARE de 1957 LE FILM ICI www.youtube.com/watch?v=kpjFU_kBaBE … STRAUSS le promoteur du nucleaire Americain les 30 glorieuses Américaine @ quand celles çi ratent le coche sur le developpement solaire... les occasions manquées de soigner notre humanité..www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695.. A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.
Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.
La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.
- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.
- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)
Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.
- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.
el.godfootsteps.org/God-himself-the-unique-vi.html
Εκκλησία του Παντοδύναμου Θεού
Ο Θεός λέει:«...Ποιος είναι ο τρίτος τρόπος; Είναι το πώς ο Σατανάς χρησιμοποιεί την παράδοση για να διαφθείρει τον άνθρωπο. Υπάρχουν πολλές ομοιότητες ανάμεσα στην παράδοση και στη δεισιδαιμονία, μόνο που η παράδοση εμπεριέχει ορισμένες ιστορίες, αναφορές και πηγές. Ο Σατανάς έχει κατασκευάσει και εφεύρει πολλούς λαϊκούς μύθους ή ιστορίες σε βιβλία ιστορίας, αφήνοντας τους ανθρώπους με μια βαθιά χαραγμένη εικόνα για την παράδοση ή για δεισιδαιμονικούς χαρακτήρες. Ας πάρουμε, για παράδειγμα, στην Κίνα Τους Οχτώ Αθάνατους που διασχίζουν τη Θάλασσα, Το ταξίδι προς τη Δύση, τον Αυτοκράτορα Νεφρίτη, τον Νετζά που κατακτά τον Βασιλιά Δράκοντα και την Ανακήρυξη των Θεών. Δεν έχουν όλα αυτά ριζώσει βαθιά στα μυαλά των ανθρώπων; Ακόμα και αν κάποιοι από εσάς δεν γνωρίζετε όλες τις λεπτομέρειες, γνωρίζετε παρ’ όλα αυτά τις γενικές ιστορίες, και είναι αυτό το γενικό περιεχόμενο που μένει στην καρδιά και μένει στο μυαλό και δεν μπορείτε να τα ξεχάσετε. Αυτά είναι πράγματα που έχει ετοιμάσει εδώ και πολύ καιρό ο Σατανάς για τον άνθρωπο, διασπείροντας ανά διαφορετικές χρονικές στιγμές τις διάφορες ιδέες του ή τους μύθους του. Αυτά τα πράγματα βλάπτουν και διαβρώνουν απευθείας τις ψυχές των ανθρώπων και τους κάνουν μάγια επανειλημμένα. Αυτό σημαίνει ότι από τη στιγμή που θα αποδεχθείς αυτά τα πράγματα που προέρχονται από την παράδοση, τις ιστορίες ή τη δεισιδαιμονία, μόλις αυτά τα πράγματα εγκατασταθούν μέσα στο μυαλό σου, μόλις μπουν και μείνουν στην καρδιά σου, λειτουργούν ως μάγια, αρχίζεις να μπερδεύεσαι και να επηρεάζεσαι από αυτά τα πολιτιστικά στοιχεία, αυτές τις ιδέες και ιστορίες της παράδοσης. Επηρεάζουν τη ζωή σου, τη στάση σου στη ζωή, καθώς και την κρίση σου για τα πράγματα. Ακόμη περισσότερο, επηρεάζουν την αναζήτησή σου για το αληθινό μονοπάτι στη ζωή: πρόκειται πραγματικά για μάγια! Προσπαθείς, αλλά δεν μπορείς να τα λύσεις. Τα χτυπάς, αλλά δεν μπορείς να τα σπάσεις, τα πολεμάς, αλλά δεν μπορείς να τα νικήσεις. Δεν είναι έτσι; (Ναι.) Επιπλέον, εφόσον ο άνθρωπος βρίσκεται υπό αυτά τα μάγια, χωρίς να το γνωρίζει, αρχίζει εν αγνοία του να λατρεύει τον Σατανά, καλλιεργώντας την εικόνα του Σατανά στην καρδιά του. Με άλλα λόγια, οι άνθρωποι θεωρούν τον Σατανά ως το είδωλό τους, ένα αντικείμενο λατρείας και θαυμασμού, φτάνοντας ακόμα και στο σημείο να τον θεωρούν Θεό. Χωρίς να το γνωρίζουν, αυτά τα πράγματα βρίσκονται στις καρδιές των ανθρώπων και ελέγχουν τα λόγια και τις πράξεις τους. Επιπλέον, θεωρείς ότι αυτές οι ιστορίες και οι μύθοι δεν είναι αληθείς, αλλά μετά, εν αγνοία σου, αναγνωρίζεις την ύπαρξη αυτών των ιστοριών, δημιουργείς αληθινούς χαρακτήρες από αυτές και τις μετατρέπεις σε πράγματα που υπάρχουν στ’ αλήθεια. Εν αγνοία σου, υποσυνείδητα γίνεσαι αποδέκτης αυτών των ιδεών και της ύπαρξης αυτών των πραγμάτων. Επίσης, υποσυνείδητα βάζεις δαίμονες, τον Σατανά και είδωλα μέσα στο ίδιο σου το σπίτι και μέσα στην καρδιά σου — πρόκειται πραγματικά για μάγια! Νιώθετε κι εσείς το ίδιο; (Ναι.) Υπάρχουν κάποιοι ανάμεσά σας που να έχουν κάψει θυμιάματα και λατρέψει τον Βούδα; (Ναι.) Ποιος ήταν, λοιπόν, ο σκοπός που κάψατε αυτά τα θυμιάματα και που λατρέψατε τον Βούδα; (Η προσευχή για ειρήνη.) Τώρα που το σκέφτεσαι, είναι παράλογο να προσεύχεσαι στον Σατανά για ειρήνη; Ο Σατανάς φέρνει την ειρήνη; (Όχι.) Ήσασταν αδαείς τότε; (Ναι.) Αυτός ο τρόπος συμπεριφοράς είναι παράλογος, αδαής και αφελής, έτσι δεν είναι; Το μόνο που σκέφτεται ο Σατανάς είναι πώς να σε διαφθείρει, δεν μπορεί να σου προσφέρει ειρήνη. Το μόνο που μπορεί να σου δώσει είναι μια προσωρινή ανακούφιση. Αλλά πρέπει να ορκιστείς, και αν δεν τηρήσεις την υπόσχεσή σου ή παραβείς τον όρκο που έκανες σε αυτόν, τότε θα δεις πώς θα σε βασανίσει. Όταν σε βάζει να ορκιστείς, στην πραγματικότητα, θέλει να σε ελέγξει. Όταν προσευχόσασταν για ειρήνη, πήρατε ειρήνη; (Όχι.) Όχι μόνο δεν πήρατε ειρήνη, αλλά, αντιθέτως, σας έφερε δυστυχία, ατελείωτες συμφορές· πραγματικά, έναν απεριόριστο ωκεανό πικρίας. Δεν υπάρχει ειρήνη στην σφαίρα επιρροής του Σατανά, και αυτή είναι η αλήθεια. Αυτή είναι η συνέπεια για την ανθρωπότητα της φεουδαρχικής δ
εισιδαιμονίας και της παράδοση...»
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
σύσταση：Το όνομα τού Θεού
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
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faizakhalida.blogspot.com.br/2009/01/em-2009-o-subsecreta...
Durante o período de férias, após a mudança de governo municipal com a posse do novo prefeito de Belford Roxo Alcides Rolim do PT (Partido dos Trabalhadores) e novo secretário municipal de educação William Campos, eu me dirigia até a secretaria de educação para tentar dar ciência ao novo governo municipal e ao novo secretário que eu me encontrava sem condições de trabalho pelos problemas de saúde, sociais e administrativos. Que eu me encontrava sob cuidados médicos desde março de 2008 com indicação de me manter afastada do trabalho. E que, segundo a médica que me avaliava, sem resolução da situação de estresse dificilmente haveria resolução do quadro apresentado.
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O secretário de educação William Campos nunca podia me atender. Na primeira vez, no dia 9 de janeiro de 2009 quem ouviu os meus relatos foi a subsecretária de educação Joana D'arc que também atendia pelo nome de Joelma e era esposa do outro subsecretário de educação Miguel de Sousa Ramiro. O subsecretário Miguel de Sousa Ramiro também ao lado dela participou do nosso encontro ouvindo tudo atentamente. O outro subsecretário de educação Clayton apareceu na sala para nos observar e me deu um tchauzinho. A senhora subsecretária Joana D'arc anotou o meu nome e as escolas municipais onde eu estava lotada no seu caderno e pediu que eu ordenasse melhor os relatos, grampeasse e fizesse constar a ciência ao secretário municipal de educação William Campos.
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 14 de janeiro de 2009 a subsecretária Joana D'arc me confirmou ter entregado e encaminhado o meu quadro para o secretário de Educação William Campos. Mas o secretário William Campos nunca me atendeu.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma funcionária pública da Prefeitura municipal de Belford Roxo que havia trabalhado comigo na primeira escola de 1995 a 2002 e ficou sabendo da situação em que eu me encontrava, mais uma vez precisando de ajuda, me ligou muito preocupada comigo e querendo me ajudar disse que era para eu ir com ela até a secretaria municipal de educação de Belford Roxo com o LAUDO MÉDICO que a MÉDICA PSIQUIÁTRICA que me tratava desde 16/05/2008 havia me dado de DOENÇAS MENTAIS influenciadas por PROBLEMAS SOCIAIS e referentes ao meu TRABALHO. Esse anjo que apareceu para tentar me ajudar foi a Creusa, funcionária de apoio da secretaria da escola municipal São Bento.
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Assim eu me encontrei com a Creusa na casa dela e fomos juntas até a secretaria municipal de educação de Belford Roxo (SEMED) onde mostramos o LAUDO MÉDICO para diversos funcionários da secretaria de educação. Por fim fomos levadas ao subsecretário Miguel de Souza Ramiro.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA PSIQUIÁTRICA CLÍNICA ATESTOU PARA FINS DE COMPROVAÇÃO JUNTO À PREFEITURA MUNICIPAL DE BELFORD ROXO que eu me encontrava sob os seus cuidados médicos desde maio de 2008 por motivo de DOENÇA.
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO é grandemente influenciado por PROBLEMAS SOCIAIS E REFERENTES AO MEU TRABALHO PELO FATO DE NÃO HAVER ACEITAÇÃO DA MINHA CONDIÇÃO SEXUAL E TODAS AS SITUAÇÕES QUE DAÍ DECORREM.
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO APRESENTADO DIFICILMENTE SERIA RESOLVIDO SE NÃO HOUVESSE A RESOLUÇÃO DESTA SITUAÇÃO DE ESTRESSE.
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA ATESTOU QUE EU APRESENTAVA A CAPACIDADE LABORATIVA E SOCIAL BASTANTE PREJUDICADA.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA AVALIAVA A NECESSIDADE DE AFASTAMENTO DO TRABALHO DESDE O INÍCIO DO MEU TRATAMENTO EM 16/05/2008.
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O subsecretário de educação nos garantiu que ele mesmo resolveria os meus problemas através do envio da frequência pela condição médica e DISCRIMINAÇÃO no trabalho. O subsecretário Miguel constatou que 21 processos meus continuavam com NOME e SEXO MASCULINOS, que eu nunca havia conseguido tirar uma licença prêmio e os 90 dias de férias que tinha direito por ter estado em período de férias a disposição do Juiz. O funcionário da secretaria de educação confirmou ao subsecretário Miguel que sabia que o meu nome e sexo nos registros já deveria ter sido alterado desde 2005. Naquele momento uma outra funcionária da secretaria de educação de Belford Roxo que era loira e tinha um cargo relacionado a área jurídica disse para mim e Creusa palavras muito confortadoras e bonitas contra a situação de preconceito.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Duas semanas depois, com a nomeação do supervisor educacional e consultor jurídico Jorge Silva (mat. 54368) como assessor jurídico da Secretaria de Educação de Belford Roxo, por telefone, o subsecretário Miguel de Sousa Ramiro disse que se esqueceu de tudo que ele havia prometido para mim e a Creusa, inclusive do LAUDO MÉDICO PSIQUIÁTRICO que ele havia tomado ciência. O subsecretário Miguel me disse que ele só faria o que o Jorge Silva mandasse ele fazer e passou o telefone celular dele para o Jorge Silva. Eu fiquei completamente descontrolada e bati boca com o Jorge Silva por telefone. Uma das coisas que eu me lembro que o Jorge Silva me falou ao telefone era que eu deveria comparecer na Secretaria Municipal de Belford Roxo na próxima segunda-feira onde eu seria exposta para a TV Globo como uma professora faltosa.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 05 de maio, na porta da sala do secretário de educação William Campos, me disseram como sempre que ele não poderia falar comigo. Desta vez a desculpa é que ele não estaria lá e sim ele estaria em Curitiba. O Jornal de Hoje publicou uma foto do secretário de educação de Belford Roxo William Campos lá na SEMED (secretaria municipal de educação) nesse dia relatando o encontro dele com várias pessoas. Eu nunca consegui conversar com ele.
FOTO: Secretário de Educação William Campos se encontrando com pessoas no dia 05/05/2009
www.jornalhoje.inf.br/bxd4.htm
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 8 de maio de 2009 a portaria SEMED número 36 designou comissão de sindicância para apurar o EXTRAVIO DE OFÍCIOS E PROCESSOS NA SECRETARIA MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO (SEMED). O artigo primeiro designou a abertura de sindicância a fim de buscar o Ofício número 165 que formulava a resposta ao Ofício número 73/SEMED/2009 referente a servidora Faiza Khálida Fagundes Coutinho. A comissão de sindicância era composta pelos servidores Antônio Carlos Lustosa (presidente) matrícula número 10/14714, Valéria Claudia Santos S.da Silva, matrícula número 10/5580 e Joelma Milão de Lemos, matrícula número 10/147/27, para sob a presidência do primeiro, constituírem a respectiva comissão. Esta portaria teria entrado em vigor em 12 de maio de 2009 e os trabalhos desta comissão deveriam estar concluídos em até 30 dias.
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
De primeiro de janeiro até o mês de abril de 2009 eu gastava em vão horas de ligações telefônicas falando com todos os setores que eu conseguia da Prefeitura Municipal de Belford Roxo (Gabinete do Prefeito, Procuradoria Municipal, Secretaria de Administração, Recursos Humanos, subsecretários e funcionários da SEMED). Eu não recebia mais pagamento, nenhum centavo sequer, nem mesmo um centavo de auxílio transporte, da passagem do ônibus, do triênio ou do quinquênio. Não recebia nenhum dinheiro para comprar meus remédios ou comer. Eu não recebia mais contracheque, não tinha livro de ponto para assinar, turmas para trabalhar e tarefas para cumprir. Ficava isolada na Escola Municipal Jorge Ayres de Lima. Até o dia 04/06/2009 às 9:24:46 permaneci nessa situação.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Além de me sentir humilhada, eu sentia o estresse, mal-estar, pressão alta, medo de ser assassinada, temores, pânicos, tristeza, inseguranças, desesperança, apatia, prostração, depressão, irritação, desespero, nervosismo, insônia, revolta, vontade de morrer, vontade de me matar, descontrole emocional e psíquico, perda do senso crítico e da realidade, confusão mental, visões sobrenaturais, experiências místicas, alegrias extremas, explosões de êxtase, etc.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em um dia, após vivência de intensa agonia, sofrimento e audições persecutórias perturbadoras, cheguei a ver o Espírito Santo no alto do céu como uma águia enorme que veio até onde eu estava onde eu moro e Deus fez uma aliança comigo.
(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo, matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)
Bendito é o preciosíssimo sangue do Senhor Jesus Cristo.
Jesus é o caminho.
Louvado seja o Senhor Jesus Cristo para sempre.
CLICAR ABAIXO PARA LER SOBRE:
1- Em processo administrativo de 2003 eu pedi para que a Prefeitura Municipal de Belford Roxo custeasse um tratamento Psicológico e Psiquiátrico para mim alegando que eu não me encontrava mais depois de tudo que havia passado no serviço público da rede de educação em condições de desempenhar minhas funções equilibradamente, mas eu não fui atendida. No mesmo parágrafo do processo de 2003 arquivado pela Procuradoria do Município, eu registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo um vazio muito grande e outros sintomas psiquiátricos que não conseguia explicar pedindo em nome do Senhor Jesus Cristo ajuda médica ".
2- Minha doença profissional começou em 2002 quando inclusive fui ameaçada de morte. Em 2003 após conseguir procurar ajuda médica passei a fazer uso de remédios psicotrópicos para conseguir exercer minhas funções como professora da rede municipal de Belford Roxo.
3- Após ser novamente ameaçada de morte em 2007 pela orientadora pedagógica que disse que eu tinha que sair da escola por ser transexual e que me perseguia, voltei a ter agravamento de quadro psicológico e emocional.
4- Em meio ao contexto de perseguição meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais de Belford Roxo em que eu lecionava.
5- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.
6- Procurador-geral Lorival Almeida de Oliveira mentiu dizendo que eu recebi cópia de processo para me defender. Não me permitiram tirar cópia nem ler o processo que me puniu.
7- Em maio de 2008 a médica psiquiátrica verificou que dificilmente haveria SOLUÇÃO do meu QUADRO DE DEPRESSÃO porque NÃO HAVIA RESOLUÇÃO DOS PROBLEMAS SOCIAIS referentes ao meu trabalho que me estressavam.
8- O suicídio era um dos pensamentos diários. Os remédios não faziam o efeito.
9- Orientadora pedagógica se mobilizava para me tirar da escola e me prejudicava. Vivenciava exclusão e isolamento.
10- Secretaria de Educação e Procuradoria Municipal de Belford Roxo abafavam o problema da discriminação.
11- Meu estado psicológico e mental era ignorado como que me ver mal e transtornada fosse justamente o que se desejasse.
12- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de mulheres travestis e transexuais.
13- Procuradores de Belford Roxo e Agentes de Inquérito Administrativo ignoravam o preconceito, o processo transexualizador, o uso de medicações psicotrópicas, hormônios e alterações bioquímas e hormonais.
14- Os danos ocasionados pelo relatório técnico de 2002 e procedimento administrativo decorrente nunca foram resolvidos.
15- Relatório técnico de conhecimento de supervisores educacionais de Belford Roxo que posteriormente sumiu e foi anunciado como inexistente foi usado para me ameaçar e impedir que eu acessasse, permanecesse e trabalhasse em escola que lecionava a 8 anos.
16- Os problemas ocasionados pelo relatório técnico e procedimento administrativo decorrente nunca foram resolvidos. (PARTE 2)
17- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.
18- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.
19- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.
20- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.
21- O Ato de Demissão nas 2 matrículas em 2010.
22- Defesa de inquéritos e procedimentos administrativos, e disciplinares referentes a professora em processo transexualizador Faiza Khálida.
Depressão não é covardia
Bipolaridade não é frescura
Ansiedade não é falta de trabalho
Preconceito também precisa de tratamento
BODY
Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany
Model: 1959, Version 1.5.2, (A&R: 5, Hummmel: 048), (produced between 1959-60, quantity: 38300)
Special feature of Version 5: Exa on the front plate embossed, (not engraved like in all other versions).
Version, manufacturing year, body and lens info are as to Andrzej Wrotniak
The original Exa is known as Exa 0 also.
All Exa 0 produced between 1951-62
35mm SLR film camera
Engraving on the front plate: Ihagee Dresden
Lens release: via a lever on the left of the lens flange
Focusing: via Fresnel matte screen, ring and scalel on the lens, w/DOF scale
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B
setting: via a lever and scale on the right of the top plate
Shutter release: a knob, on front of the body, w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also
Cocking knob: also winds the film, on the right of the top plate
Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it
Viewfinder: SLR pentaprism finder , interchangeable with Waist level finder
Finder release: via a knob beneath the Exa logo
Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position
Re-wind knob: on the left of the top plate
Re-wind release: by a button just beside the cocking knob
Flash PC socket: two, on the right front side of the camera, F and X
Self-timer: none
Back cover: Hinged, removable, opens by a latch on the left side of the camera
Tripod socket: 378'' w/1/4'' adaptor
Strap lugs
Body: metallic, Weight:557g (wo/ the lens)
serial no. 545089 (inside the camera)
LENS:
Meyer-Optik Görlitz Lydith 30mm f/3,5 (Zebra), 5 elements,
preset type, Mount: Exakta bayonet mount, interchangeable with Exakta Varex lenses,
filter thread: 49mm, serial no. 4082192, (introduced in 1962)
Aperture: f/3.5-f/22, setting: ring and scale on the lens
Focus range: 0.33 - 6m +inf
+Original leather ever ready case
+ Waist level finder, Ihage Dresden, w/original leather case
+Sunlux Tele Converter, (Zebra), with Exacta bayonet mount and lens release, (Made in Japan), w/ original leather case
+ B+W Skylight filter, 49ES KR1,5 1,1x w/leather case
Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.
Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.
The true Exaktas and Exas are ones made by Ihagee in Dresden.
Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss (Jena), Meyer-Optik (Görlitz) and Joseph Schneider (Kreuznach). The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.
Notes about Exa/Exakta classification
I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.
Some opinions of a serious Exa/Exakta collector, F W Tappe :
Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!
Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.
Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.
Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.
More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
AgendaTxt: fevereiro 2014
03 . T . SP: curso Python p/ Designers c/ Gustavo Ferreira. até 7.2
04 . D . PE: curso Encadernando o Nordeste c/ Daniel Barbosa. até 5.2
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07 . C . EUA: SxSW – South by Southwest 2014. até 16.3
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