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The news of the attacks in Paris had profoundly saddened me. I am shocked and incredibly sad. But they are also an incentive to engage further in tolerance, respect and humanity. Precisely for this reason, it is a matter of heart for me, to continue further on the project "The Human Family" and to promote the humanistic values. Therefore, here is a contribution to the project, which was, however, taken before the horrors of Paris.
At last once again time to continue the project "The Human Family".
Professionally, I'm back on travel, this time on the River Rhine, in Koenigswinter. It's lunchtime break, the weather is acceptable, so already well placed to hold out by strangers. Only problem, there are hardly any people on the street. I wanted to give up almost as if I could see a young woman who was trying to take pictures of her little dog.
When she had finished her photos session, I spoke to her, introduced myself and explained my concerns.
Without hesitation, agreed to my stranger.
So I met here in Koenigswinter Irina. Irina is 25 years old. She's just here for a visit with her grandmother and is walking the dog. Since seven months Irina lives in Berlin; she is a fashion stylist and accompanies photoshoots and is responsible for the outfits. Irina is happy now living and workingin Berlin, because there the career options are very good and they practically operates at the cutting edge. Regularly also the Fashion Weeks are held even in Berlin. An eldorado for fashion enthusiastic people.
What was your biggest challenge so far in life, I asked. My move to Berlin alone and without knowing someone there.
How would you describe yourself? I'm messy, erratic, but clever. (I think these are the attributes that characterize creative people)
Goals: in Berlin to gain a foothold and to succeed professionally; with less Irina does not want to be satisfied.
Yes, Irina agrees with me that it is very ambitious.
What is your motto in life: Do not plan on doing! Do not think, but act.
I do not want to mention how patient Irina posed for my camera. Since I was not completely satisfied with the background, Irina did not mind and so much time to go a few more steps, because I wanted to have a not so troubled background.
Thank you for your patience Irina, and your time, you've diverted for my project. It was a pleasant conversation at the River Rhine. I wish you much success in Berlin and I keep my fingers crossed that you start off really there. All the best to you.
This photo is my 4th submission to new group "The Human Family".
Visit "The Human Family" here and have a look on the photos of the other photographers:
www.flickr.com/groups/thehumanfamily/
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Die Geschehnisse in Paris sind schockierend und haben mich tief getroffen. Sie sind aber auch ein Ansporn, sich weiter für Tolrenaz, Respekt und Menschlichkeit einzusetzen. Gerade aus diesem Grund ist es für mich eine Herzensangelegenheit, dass Projekt "The Human Family" weiter fortzuführen und für die humanistischen Werte zu werben. Daher hier eine Beitrag zu dem Projekt, der allerdings vor den Erignissen von Paris aufgenommen wurde.
Endlich wieder einmal Zeit, das Projekt "The Human Family" fortzusetzen.
Beruflich bin ich wieder auf Reise, diesmal am Rhein, in Königswinter. Es ist Mittagspause, das Wetter ist passabel, also schon einmal gute Voraussetzungen, nach Fremden Ausschau zu halten. Einziges Problem, es sind kaum Menschen auf der Strasse. Ich wollte fast schon aufgeben, als ich eine junge Frau beobachten konnte, die versuchte, ihren kleinen Hund zu fotografieren.
Als sie ihre Fotossession beendet hatte, sprach ich sie an, stellte mich vor und erklärte mein Anliegen. Ohne zu zögern, stimmte meine Fremde zu.
Ich begegnete also hier in Königswinter Irina. Irina ist 25 Jahre alt. Sie ist gerade hier zu Besuch bei ihrer Großmutter und führt ihren Hund aus. Seit sieben Monaten lebt Irina in Berlin; sie ist Modestyleistin, begleitet Fotoshootings und ist dabei für die outfits zuständig. Irina ist froh, jetzt in Berlin zu leben und zu arbeiten, weil dort die beruflichen Möglichkeiten sehr gut sind und sie quasi am Puls der Zeit arbeitet. Regelmäßig finden in Berlin ja auch die Fashionweeks statt. Ein Eldorado für modebegeisterte Menschen.
Was war Deine größte Herausforderung bisher im Leben, fragte ich. Mein Umzug ganz allein nach Berlin und ohne dort jemanden zu kennen.
Wie würdest Du Dich beschreiben? Ich bin chaotisch, sprunghaft, aber clever. (ich glaube, das sind Attribute, die kreative Menschen kennzeichnen)
Deine Ziele: in Berlin Fuß zu fassen und beruflich Erfolg zu haben; mit weniger möchte Irina sich nicht zufrieden geben. Ja, Irina stimmt mir zu, dass sie sehr ehrgeizig ist.
Was ist Dein Lebensmotto: Nicht planen, machen! Nicht denken, sondern handeln.
Ich möchte nicht unerwähnt lassen, wie geduldig Irina vor meiner Kamera posierte. Da ich nicht ganz zufrieden mit dem Hintergrund war, hatte Irina nichts dagegen und so viel Zeit noch ein paar Schritte zu gehen, weil ich unbedingt einen nicht so unruhigen Hintergrund haben wollte.
Vielen Dank Irina für Deine Geduld, und Deine Zeit, die Du für mein Projekt abgezweigt hast. Es war eine angenehme Plauderei am Rhein. Ich wünsche Dir viel Erfolg in Berlin und drücke Dir die Daumen, dass Du dort so richtig durchstartest. Alles Gute.
Dies ist mein 4. Beitrag zu der neuen Gruppe The Human Family. Mehr Fotos von anderen Fotografen findest Du hier:
This is the first instance that I could spot a Danish vanity-registered car, after I unfortunately missed a vanity plate on a KIA Cee'd in the UK near the city of Leeds. However, fortunately, I could spot another Danish vanity plate in Hamburg a few days later.
This interesting Skoda Superb, with some rather funny stickers, was travelling along the A1 autobahn. The car's vanity plate presumably denotes the village of which the car resides in, Lihme, located in the Skive Municipality in north-western Denmark. No idea what or who 'Ursula II' is either...
A1 Autobahn (Stuhr), Lower Saxony, Germany
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography!
An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!
Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)
You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/
And follow me on instagram! @45surf
Facebook!
www.facebook.com/elliot.mcgucken
Dr. Elliot McGucken Fine Art Photography!
I love shooting fine art landscapes and fine art nature photography! :) I live for it!
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
Beautiful magnificent clouds!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!
Supermarine Spitfire LF Vb EP120, civil registration G-LFVB, in the colors of 402 Sqn, “City of Winnipeg” RCAF (Royal Canadian Air Force) coded AE-A, pictured landing at Duxford during the Duxford ‘Flying Finale’ air show October 2022.
Spitfire EP120
This LF Mk.V Spitfire (LF meaning optimized for low-level fighter operations having for instance the clipped wings) is one of the most credited historic aircraft left anywhere in the world with an impressive 7 confirmed kills. EP120 was built at the Castle Bromwich factory where she was probably test flown by the legend that was Alex Henshaw. She was taken on charge by the RAF in May 1942 with 45 MU at Kinloss in Scotland. She was assigned to 501 Sqn the following month and scored six of her confirmed kills with Sqn Ldr Geoffrey Northcott at the helm. A ground collision saw her returned to Castle Bromwich for repair following which she was allocated to 19 Sqn in Cornwall. In April 1944 she was taken on charge with 402 Sqn ‘City of Winnipeg’ RCAF, coded AE-A, which are the colors she wears today. The beautiful Spitfire is operated by The Fighter Collection since 1993.
EP120 went to 33 MU at Lyneham, before moving onto 53 OTU at Kirton in Lindsey. Following a period as a ground instructional airframe, EP120 served as gate guard at a number of RAF stations until 1967 when she was used as a static aircraft in the ‘Battle of Britain’ movie. Following her first silver screen experience she was back guarding the gate, at RAF Wattisham this time until 1989 when she was transported to St. Athan along with all the rest of the gate guard Spitfires. EP120 remained in storage at St. Athan until she joined The Fighter Collection fleet in 1993.Following a full restoration, EP120 returned to the skies in September 1995 and has been a popular performer with both the crowds and pilots ever since.
Mk V / Vb
The basic Mk V was a Mk I with the Merlin 45 series engine. This engine delivered 1,440 hp (1,074 kW) at take-off, and incorporated a new single-speed single-stage supercharger design. Improvements to the carburettor also allowed the Spitfire to use zero gravity manoeuvres without any problems with fuel flow. Several Mk I and Mk II airframes were converted to Mk V standard by Supermarine and started equipping fighter units from early 1941. The majority of the Mk Vs were built at Castle Bromwich. More Spitfire Mk Vs were built than any other type, with 6,487 built, with the Vb, powered the Merlin 45 series engine, being the main production version of the Mark Vs . Also, the Vb series were the first Spitfires able to carry a range of specially designed slipper-type drop tanks which were fitted underneath the wing centre-section. Small hooks were fitted just forward of the inboard flaps. When the tank was released, these hooks caught the trailing edge of the tank, swinging it clear of the fuselage.
Sources: fighter-collection.com/cft/spitfire-ep120/ www.quora.com/What-does-F-LF-and-FR-mean-on-Spitfire-names en.wikipedia.org/wiki/Supermarine_Spitfire#Variants en.wikipedia.org/wiki/Supermarine_Spitfire_(early_Merlin-powered_variants)#Mk_V_(Types_331,_349_and_352)
Detail of The Victoria Memorial, featuring, in this instance, Queen Victoria herself. This is part of a monument to the good old Queen, positioned at the end of The Mall in London, right in front of Buckingham Palace, so the current Queen can see it from the small garret window top right of the Palace frontage, where she often stands and watches ordinary people. So I believe. Anyway, it was designed and executed by the sculptor Sir Thomas Brock. Designed in 1901, it was unveiled on 16 May 1911, though it was not completed until 1924. It was a slower pace of life then. It is a fine, very baroque study of all sorts of Imperialist Stuff, and quite magnificent in all its kitschy magnificence. It is topped, unsurprisingly, by a gilded bronze Winged Victory, standing on a globe and with a victor's palm in one hand. Although it is not out of place where it currently resides, and is a familiar asnd reassuring presence, it is, while not actually hideous, (although it must be admitted, beautifully executed), rather over the top for present-day tastes. I predict that in about 2032 it will come back into fashion, and be celebrated as an example of what we should all aspire to.
Of the two yellow line Eclipses, this was the one that didn't give me much trouble and I didn't have to go chasing off down the road. But, just like the other one, it was working a route that is not part of the yellow line group of services - in this instance a purple line 37. Apparently on diversion, too.
KX05 MHJ
St Stephens Street, Norwich, 19.7.23
Fun with instancing and geometric offsets.
Press "L" to view on black. It looks better that way.
Copyright © 2011 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
Vienna Regional Court for Criminal Matters
The Vienna Regional Court for Criminal Matters (colloquially referred to as "landl" (Landesgericht)) is one of 20 regional courts in Austria and the largest court in Austria. It is located in the 8th District of Vienna, Josefstadt, at the Landesgerichtsstraße 11. It is a court of first respectively second instance. A prisoners house, the prison Josefstadt, popularly often known as the "Grey House" is connected.
Court Organization
In this complex there are:
the Regional Court for Criminal Matters Vienna,
the Vienna District Attorney (current senior prosecutor Maria-Luise Nittel)
the Jurists association-trainee lawer union (Konzipientenverband) and
the largest in Austria existing court house jail, the Vienna Josefstadt prison.
The Regional Criminal Court has jurisdiction in the first instance for crimes and offenses that are not pertain before the district court. Depending on the severity of the crime, there is a different procedure. Either decides
a single judge,
a senate of lay assessors
or the jury court.
In the second instance, the District Court proceeds appeals and complaints against judgments of district courts. A three-judge Court decides here whether the judgment is canceled or not and, if necessary, it establishes a new sentence.
The current President Friedrich Forsthuber is supported by two Vice Presidents - Henriette Braitenberg-Zennenberg and Eve Brachtel.
In September 2012, the following data have been published
Austria's largest court
270 office days per year
daily 1500 people
70 judges, 130 employees in the offices
5300 proceedings (2011) for the custodial judges and legal protection magistrates, representing about 40 % of the total Austrian juridical load of work
over 7400 procedures at the trial judges (30 % of the total Austrian juridical load of work)
Prosecution with 93 prosecutors and 250 employees
19,000 cases against 37,000 offenders (2011 )
Josefstadt prison with 1,200 inmates (overcrowded)
History
1839-1918
The original building of the Vienna Court House, the so-called civil Schranne (corn market), was from 1440 to 1839 located at the Hoher Markt 5. In 1773 the Schrannenplatz was enlarged under Emperor Joseph II and the City Court and the Regional Court of the Viennese Magistrate in this house united. From this time it bore the designation "criminal court".
Due to shortcomings of the prison rooms in the Old Court on Hoher Markt was already at the beginning of the 19th Century talk of building a new crime courthouse, but this had to be postponed because of bankruptcy in 1811.
In 1816 the construction of the criminal court building was approved. Although in the first place there were voices against a construction outside the city, as building ground was chosen the area of the civil Schießstätte (shooting place) and the former St. Stephanus-Freithofes in then Alservorstadt (suburb); today, in this part Josefstadt. The plans of architect Johann Fischer were approved in 1831, and in 1832 was began with the construction, which was completed in 1839. On 14 May 1839 was held the first meeting of the Council.
Provincial Court at the Landesgerichtsstraße between November 1901 and 1906
Johann Fischer fell back in his plans to Tuscan early Renaissance palaces as the Pitti Palace or Palazzo Pandolfini in Florence. The building was erected on a 21,872 m² plot with a length of 223 meters. It had two respectively three floors (upper floors), the courtyard was divided into three wings, in which the prisoner's house stood. In addition, a special department for the prison hospital (Inquisitenspital ) and a chapel were built.
The Criminal Court of Vienna was from 1839 to 1850 a city court which is why the Vice Mayor of Vienna was president of the criminal courts in civil and criminal matters at the same time. In 1850 followed the abolition of municipal courts. The state administration took over the Criminal Court on 1 Juli 1850. From now on, it had the title "K.K. Country's criminal court in Vienna".
1851, juries were introduced. Those met in the large meeting hall, then as now, was on the second floor of the office wing. The room presented a double height space (two floors). 1890/1891 followed a horizontal subdivision. Initially, the building stood all alone there. Only with the 1858 in the wake of the demolition of the city walls started urban expansion it was surrounded by other buildings.
From 1870 to 1878, the Court experienced numerous conversions. Particular attention was paid to the tract that connects directly to the Alserstraße. On previously building ground a three-storey arrest tract and the Jury Court tract were built. New supervened the "Neutrakt", which presented a real extension and was built three respectively four storied. From 1873 on, executions were not executed publicly anymore but only in the prison house. The first execution took place on 16 December 1876 in the "Galgenhof" (gallow courtyard), the accused were hanged there on the Würgegalgen (choke gallow).
By 1900 the prisoners house was extended. In courtyard II of the prison house kitchen, laundry and workshop buildings and a bathing facility for the prisoners were created. 1906/1907 the office building was enlarged. The two-storied wing tract got a third and three-storied central section a fourth floor fitted.
1918-1938
In the early years of the First Republic took place changes of the court organization. Due to the poor economy and the rapid inflation, the number of cases and the number of inmates rose sharply. Therefore, it was in Vienna on 1 October 1920 established a second Provincial Court, the Regional Court of Criminal Matters II Vienna, as well as an Expositur of the prisoner house at Garnisongasse.
One of the most important trials of the interwar period was the shadow village-process (Schattendorfprozess - nomen est omen!), in which on 14th July 1927, the three defendants were acquitted. In January 1927 front fighters had shot into a meeting of the Social Democratic Party of Austria, killing two people. The outrage over the acquittal was great. At a mass demonstration in front of the Palace of Justice on 15th July 1927, which mainly took place in peaceful manner, invaded radical elements in the Palace of Justice and set fire ( Fire of the Palace Justice), after which the overstrained police preyed upon peaceful protesters fleeing from the scene and caused many deaths.
The 1933/1934 started corporate state dictatorship had led sensational processes against their opponents: examples are the National Socialists processes 1934 and the Socialists process in 1936 against 28 "illegal" socialists and two Communists, in which among others the later leaders Bruno Kreisky and Franz Jonas sat on the dock.
Also in 1934 in the wake of the February Fights and the July Coup a series of processes were carried out by summary courts and military courts. Several ended with death sentences that were carried out by hanging in "Galgenhof" of the district court .
1938-1945
The first measures the Nazis at the Regional Criminal Court after the "Anschluss" of Austria to the German Reich in 1938 had carried out, consisted of the erection of a monument to ten Nazis, during the processes of the events in July 1934 executed, and of the creation of an execution space (then space 47 C, today consecration space where 650 names of resistance fighters are shown) with a guillotine supplied from Berlin (then called device F, F (stands for Fallbeil) like guillotine).
During the period of National Socialism were in Vienna Regional Court of 6 December 1938 to 4th April 1945 1.184 persons executed. Of those, 537 were political death sentences against civilians, 67 beheadings of soldiers, 49 war-related offenses, 31 criminal cases. Among those executed were 93 women in all age groups, including a 16-year-old girl and a 72-year-old woman who had both been executed for political reasons.
On 30 June 1942 were beheaded ten railwaymen from Styria and Carinthia, who were active in the resistance. On 31 July 1943, 31 people were beheaded in an hour, a day later, 30. The bodies were later handed over to the Institute of Anatomy at the University of Vienna and remaining body parts buried later without a stir at Vienna's Central Cemetery in shaft graves. To thein the Nazi era executed, which were called "Justifizierte" , belonged the nun Maria Restituta Kafka and the theology student Hannsgeorg Heintschel-Heinegg.
The court at that time was directly subordinated to the Ministry of Justice in Berlin.
1945-present
The A-tract (Inquisitentrakt), which was destroyed during a bombing raid in 1944 was built in the Second Republic again. This was also necessary because of the prohibition law of 8 May 1945 and the Criminal Law of 26 June 1945 courts and prisons had to fight with an overcrowding of unprecedented proportions.
On 24 March 1950, the last execution took place in the Grey House. Women murderer Johann Trnka had two women attacked in his home and brutally murdered, he had to bow before this punishment. On 1 July 1950 the death penalty was abolished in the ordinary procedure by Parliament. Overall, occured in the Regionl Court of Criminal Matters 1248 executions. In 1967, the execution site was converted into a memorial.
In the early 1980s, the building complex was revitalized and expanded. The building in the Florianigasse 8, which previously had been renovated, served during this time as an emergency shelter for some of the departments. In 1994, the last reconstruction, actually the annex of the courtroom tract, was completed. In 2003, the Vienna Juvenile Court was dissolved as an independent court, iIts agendas were integrated in the country's criminal court.
Prominent processes since 1945, for example, the Krauland process in which a ÖVP (Österreichische Volkspartei - Austrian People's Party) minister was accused of offenses against properties, the affair of the former SPÖ (Sozialistische Partei Österreichs - Austrian Socialist Party) Minister and Trade Unions president Franz Olah, whose unauthorized financial assistance resulted in a newspaper establishment led to conviction, the murder affairs Sassak and the of the Lainzer nurses (as a matter of fact, auxiliary nurses), the consumption (Konsum - consumer cooporatives) process, concerning the responsibility of the consumer Manager for the bankruptcy of the company, the Lucona proceedings against Udo Proksch, a politically and socially very well- networked man, who was involved in an attempted insurance fraud, several people losing their lives, the trial of the Nazi Holocaust denier David Irving for Wiederbetätigung (re-engagement in National Socialist activities) and the BAWAG affair in which it comes to breaches of duty by bank managers and vanished money.
Presidents of the Regional Court for Criminal Matters in Vienna since 1839 [edit ]
Josef Hollan (1839-1844)
Florian Philipp (1844-1849)
Eduard Ritter von Wittek (1850-1859)
Franz Ritter von Scharschmied (1859-1864)
Franz Ritter von Boschan (1864-1872)
Franz Josef Babitsch (1873-1874)
Joseph Ritter von Weitenhiller (1874-1881)
Franz Schwaiger (1881-1889)
Eduard Graf Lamezan -Salins (1889-1895)
Julius von Soos (1895-1903)
Paul von Vittorelli (1903-1909)
Johann Feigl (1909-1918)
Karl Heidt (1918-1919)
Ludwig Altmann (1920-1929)
Emil Tursky (1929-1936)
Philipp Charwath (1936-1938)
Otto Nahrhaft (1945-1950)
Rudolf Naumann (1951-1954)
Wilhelm Malaniu (1955-1963)
Johann Schuster (1963-1971)
Konrad Wymetal (1972-1976)
August Matouschek (1977-1989)
Günter Woratsch (1990-2004)
Ulrike Psenner (2004-2009)
Friedrich Forsthuber (since 2010)
de.wikipedia.org/wiki/Landesgericht_f%C3%BCr_Strafsachen_...
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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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
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more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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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
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art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
On June 5, 2012, Hinode captured these stunning views of the transit of Venus -- the last instance of this rare phenomenon until 2117. Hinode is a joint JAXA/NASA mission to study the connections of the sun's surface magnetism, primarily in and around sunspots. NASA's Marshall Space Flight Center in Huntsville, Ala., manages Hinode science operations and oversaw development of the scientific instrumentation provided for the mission by NASA, and industry. The Smithsonian Astrophysical Observatory in Cambridge, Mass., is the lead U.S. investigator for the X-ray Telescope.
Image credit: JAXA/NASA/Lockheed Martin
Original images: www.nasa.gov/mission_pages/hinode/venus_transit_hinode.html
Read more about Hinode:
www.nasa.gov/mission_pages/hinode/index.html
p.s. You can see all of our Hinode photos in the Hinode Group in Flickr at: www.flickr.com/photos/28634332@N05/sets/72157606297030945/
_____________________________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Focke-Wulf Project VII Flitzer ("streaker" or "dasher", sometimes incorrectly translated as "madcap") was a jet fighter under development in Germany in World War II.
The design began as Focke-Wulf Project VI which had a central fuselage and two booms carrying the rear control surfaces having great similarity with the de Havilland Vampire. Project V had the air inlets still positioned on either side of the nose, just below the cockpit.
The estimated horizontal speed was not satisfactory and in the next development, Project VII, the jet intakes were situated in the wing roots. Further improvements over Project VI were a narrower fuselage and a changed pilot's canopy. In order to improve the rate of climb, a Walter HWK 109-509 hypergolic liquid-propellant rocket was added.
In spite of the fact that a complete mock-up was built and all construction and assembly plans finished, the aircraft was not accepted by the RLM (Reich Air Ministry, or Reichsluftfahrtministerium).
But the design was not shelved, though: with the Project VIII, Focke-Wulf began a design study for a turboprop-powered fighter-bomber. It was based on the work previously done on Project VII, but became a very different aircraft.
Biggest change of the Project VIII was its turboprop engine, based on the Heinkel S 011 jet engine. While the engine was still placed in the section behind the wing main spar, the power shaft that ran through the lower fuselage and drove a three-bladed variable pitch propeller required major changes. For instance, the front wheel had to be lengthened in order to make enough room for the propeller.
To accomodate the new gearbox and a bigger front landing gear well, the whole aircraft nose had to be modified, too. The front wheel now retracted backwards and rotated by 90°, so that it could lie flat under the power shaft, flanked by two machine cannons. Two more were mounted in the wings, which were at an initial stage taken over wholesale from the P.VII, and a heavy 30mm MK 108 autocannon fired through the propeller hub.
Due to the aircraft's "nose-up" position on the ground, the tail arrangement was changed and simplified, too: the Flitzer's twin boom gave way to a more conventional single boom above the jet exhaust, ending in a simple tail with swept surfaces. This had the positive side effects of better aerodynamics, as well as a reduced overall weight.
The design was submitted to the RLM in November 1944 and quickly accepted, despite serious delays with the DB 109-021 turboprop engine. This was eventually ready in May 1945, when first tests and the Fw 260's maiden flight (how the type was now officially designated, the two prototypes having the suffix A-0) took place.
The turboprop was a very effective engine, especially at low and medium altitude, where the Project VIII would outperfrom any contemporary pure piston engine fighter. It was also more manoueverable than comparable jet fighters (esp. concerning acceleration and rate of climb - the aircraft was able to climb twice as fast as the former pure jet Flitzer design), and operations only required much shorter runways for operations.
The initial Fw 260 A-1 was delivered to front line units in late 1945 and immediately thrown into the defensive battles at the Eastern front, where they flew missions against point targets and even night time missions.
An improved version with new, thinner wings and a slightly increased sweep for even better performance, the A-2, was scheduled to enter production in summer 1946, but the end of hostilities limited overall production to less than 100 Fw 260 A-1.
General characteristics:
Crew: One pilot
Length: 10,30 m (33 ft 8 3/4 in)
Wingspan: 8.00 m (26 ft 2 in)
Wing sweep: 30° at quarter chord
Height: 3,31 m (10 ft 10 in)
Wing area: 17.0 m2 (183 ft2)
Empty weight: 3.396 kg (7.486 lb)
Gross weight: 4.900 kg (10.802 lb)
Powerplant:
1× Daimler-Benz DB 109-021 turboprop, rated at 1,491 kW (2,000 hp)
plus 770 kp (1.697 lb) residual thrust
Performance:
Maximum speed: 900 km/h (559 mph) at 9.000 m (30.00 0ft)
Range: 1.020 km (633 miles) on internal fuel at 7.000 m (23.000 ft)
Endurance: 1 hour 17 min at full load and at 7.000 m (23.000 ft)
Service ceiling: 13,000 m (42,500 ft)
Rate of climb: 39 m/s (128 ft/sec)
Armament:
1× 30 mm (1.18 in) MK 108 cannon (40 RPG), firing through the propeller hub
4× 20 mm MG 213 cannons, one pair in the lower front fuselage and one in each wing,
each with 100 RPG.
Up to 1.000kg (2.202 lb) of external ordnance at two wing hardpoints, including bombs
of up to 500 kg (1.100 lb) caliber, drop tanks, racks with unguided missiles, or podded
cannons
The kit and its assembly:
I had this Luft '46 project on the list for a while, and while waiting for parts for other projects I decided to dig a Revell "Flitzer" kit out of the pile and start a quick conversion.
Yes, this one is based on a real German project: Fact is that this one was a turboprop-powered derivative of the pure jet Flitzer, with swept surfaces and a conventional tail boom. And it was intended as an attack aircraft, not a fighter.
Its designation, be it internally or through the RLM, varies widely, though. Some sources call it "Project VIII" (because the Flitzer was Project VII), but that's doubtful because there were several iterations with twin and single boom arrangements, as well as different wing shapes (ranging from the Flitzer's clipped delta shape to swept, slender wings that remind of the F-86).
Unicraft did a resin kit of this paper project, calling it "P.127" for whatever reason, and they also did a kit of its twin-boom predecessor - the latter being christened Fw 258 by Unicraft, even though this number had not been allocated by the RLM.
I took that idea up and gave my creation the fictional designation Fw 260 - the "260" was never used by the RLM, too, and it is even uncertain which number the Flitzer would have had, had it been built or accepted for Luftwaffe service.
Anyway, changing the Revell Flitzer into its successor was not an easy task. It started with a new nose that would not only carry the scratched propeller, it would also have to blend into the trapezoid diameter of the original "pod" fuselage. The solution was found through a rear drop tank end from a vintage Revell F4U that was cut in two pieces: the rear tip would become the propeller spinner (onto which single, deep blades from a vintage Frog Ta 152 were glued), while the rest replaced the original Flitzer nose and holds a 6x6mm, square styrene tube inside that carries the propeller on a round styrene axis. It's even spinning!
Because this scratched arrangement needed space, the original front landing gear well had to be cut away, as well as parts of the cockpit floor. Lots of putty created some new nose lines, and before the hull was glued together as much lead as possible was hidden behind the cockpit and even inside of the front landing gear well.
The cockpit was taken almost OOB: I just used a deeper seat - the original part looks tiny, but the cockpit is really cramped so that a replacement was not easy to fit in.
At the pod's rear end, a new tail had to be created. First measure was to "reverse" the original exhaust position, flipping it from top to bottom, and adding a tail boom as a spine extension. The boom is actually a tail from a Hobby Boss P-39, which was considerably modified and cut into shape. Again, lots of putty smoothed out the lines.
With the tail in place and the new, longer nose, the wings' position was not right anymore. Consequently, the wings were moved forward by 7mm - an easy task, thanks to the kit's construction. New stabilizers were scratched from the spares box, too.
Speaking of the wings: the Flitzer's toeholds for the twin tail booms had to disappear, too - done through cutting and putty inserts on/in the wings' trailing edges. Worked pretty well.
The landing gear was taken OOB from the original kit. The front wheel wa not inserted as deep as in the Flitzer (there's no space anymore, anyway...) and slightly offset - profile drawings from Focke Wulf suggest such an arrangement, probably due to the power shaft that had to run somewhere under the cockpit floor.
Another issue became the new, forward position of the wings: this would push the tail even more down. So, I added a 3mm console at the main gear struts' bases - just enough to get the tail high enough for a plausible ground position. The real aircraft would have had a high nose, too, so the odd look is not as farfetched as it might seem.
Final touches included additional underwing hardpoints and a pair of 250 kg bombs (IIRC, from an Italeri Ju 188), outfitted with scratched fuze extensions for soggy ground, suitable ordnance for the intended ground attack role.
Painting and markings:
The late WWII canon for German aircraft leaves not much room for paint scheme experiments, but I did not want to repeat myself. So I was lucky to find a real Me 262 in the rather odd night paint scheme that I eventually used - and the result is... interesting.
Top cammo basically consists of RLM 81 and 82 (Braunviolett and Light Green enamels, from Modelmaster's Authentic line) in wavy, but sharply defined fields. On the fuselage flanks, RLM 81 and 82 also feature "counter-blotches" of the respective other tone. The undersides are painted black (RLM 22) - originally, this could also have been dark grey (RLM 66), but I found black more attractive, also as a contrast to the dark grey landing gear.
Markings were minimal on the Me 262 paradigm: all insignia in a simplified version, and even in black on the flanks. The only code was red number (outlined in white) - that's all! On the kit I added the heart emblems and the red spinner with a white spiral as a personal touch, but the aircraft still looks murky and purposeful - for night attack sorties.
The basic tones were shaded with lighter colors, including Humbrol 120, 155 and 32. Since the putty work on the fuselage made almost any engraving disappear, I added painted panel lines (with the help of some Tamiya "Smoke").
The exhaust area was painted with Modelmaster Metallizer and treated with grinded graphite, which was also used to add soot stains around the many gun nozzles.
The decals were puzzled together, stencils were taken over from the Flitzer Sheet - and these many red bits make the dark aircraft a bit more lively. Finally, everything was sealed under a coat of matt Revell Acrylics varnish.
Even if this model does not look like it: it was a major surgery job, especially the nose and the landing gear caused severe headaches. But the result looks pretty cool and sleek, and the unique paint schem adds to the mysterious look of this Luft '46 whif.
In this instance, I do know the answer. The building has clearly been re-used to some extent but what do you think was the original purpose of the building?
As the old saying goes "Answers on a postcard please!"
Photo captured via Minolta MD Zoom Rokkor-X 24-50mm F/4 lens and the bracketing method of photography off of State Route 261. Columbia Plateau Region. Adams County, Washington. Late November 2017.
Exposure Time: 1/250 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: +1 / -1 * Color Temperature: 4700 K * Film Plug-In: Kodak Portra 160 NC
Photo of oil droplets from the oil, water & acrylic paint macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Early January 2021.
Exposure Time: 1/20 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Color Temperature: 8200 K * Film Plug-In: Fuji Velvia 50 * Adaptor: 1:1 Extension Tube * Tele-Converter: Deitz 2X MC-4 M/MD
.Earliest It's messagesIt is true that there exist one or two other explanations of the origin of things which introduce a personal creator. There is, for instance, the legend—first mentioned by Lieh Tzŭ (to whom we shall revert later)—which represents Nü Kua Shih (also called Nü Wa and Nü Hsi), said to have been the sister and successor of Fu Hsi, the mythical sovereign whose reign is ascribed to the years 2953–2838 B.C., as having been the creator of human beings when the earth first emerged from Chaos. She (or he, for the sex seems uncertain), who had the “body of a serpent and head of an ox” (or a human head and horns of an ox, according to some writers), “moulded yellow earth and made man.” Ssŭ-ma Chêng, of the eighth century A.D., author of the Historical Records and of another work on the three great legendary emperors, Fu Hsi, Shên Nung, and Huang Ti, gives the following account of her: “Fu Hsi was succeeded by Nü Kua, who like him had the surname Fêng. Nü Kua had the body of a serpent and a human head, with the virtuous endowments of a divine sage. Toward the end of her reign there was among the feudatory princes Kung Kung, whose functions were the administration of punishment. Violent and ambitious, he became a rebel, and sought by the influence of water to overcome that of wood [under which Nü Kua reigned]. He did battle with Chu Jung [said to have been one of the ministers of Huang Ti, and later the God of Fire], but was not victorious; whereupon he struck his head against the Imperfect Mountain, Page 82Pu Chou Shan, and brought it down. The pillars of Heaven were broken and the corners of the earth gave way. Hereupon Nü Kua melted stones of the five colours to repair the heavens, and cut off the feet of the tortoise to set upright the four extremities of the earth.5 Gathering the ashes of reeds she stopped the flooding waters, and thus rescued the land of Chi, Chi Chou [the early seat of the Chinese sovereignty].”
Another account separates the name and makes Nü and Kua brother and sister, describing them as the only two human beings in existence. At the creation they were placed at the foot of the K’un-lun Mountains. Then they prayed, saying, “If thou, O God, hast sent us to be man and wife, the smoke of our sacrifice will stay in one place; but if not, it will be scattered.” The smoke remained stationary.
But though Nü Kua is said to have moulded the first man (or the first human beings) out of clay, it is to be noted that, being only the successor of Fu Hsi, long lines of rulers had preceded her of whom no account is given, and also that, as regards the heavens and the earth at least, she is regarded as the repairer and not the creator of them.
Heaven-deaf (T’ien-lung) and Earth-dumb (Ti-ya), the two attendants of Wên Ch’ang, the God of Literature (see following chapter), have also been drawn into the cosmogonical net. From their union came the heavens and the earth, mankind, and all living things.
“Artist’ concept LCC com no. 39.”
I've never seen a cutaway exclusively of the Launch Control Center (LCC). Although the logical guess is that it's by Don Mackey, I see no signature, which is visible in most cases. In some instances "hiding in plain sight". Maybe it was at the periphery and was just cut off in this likely cropped image. Beautiful work despite the substantial color shift.
The car's make looks legitimate & vaguely familiar. Some sort of Rambler maybe? Then again, maybe just a generic automobile. Or...or...just maybe, of a proprietary Don Mackey design? Like the "Mach-key- 5"?
Get it? Never mind.
New 45EPIC Fine Art facebook and instagram landscapes!
Sony A7RII Spring Wildflowers Fine Art Joshua Tree National Park! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R 2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!
An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!
Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)
You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/
And follow me on instagram! @45surf
Facebook!
www.facebook.com/elliot.mcgucken
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Dr. Elliot McGucken Fine Art Photography!
I love shooting fine art landscapes and fine art nature photography! :) I live for it!
45surf fine art!
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
Beautiful magnificent clouds!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Biennalist @ Venice Biennale
during the Venice Biennale 2019 Biennalist format will express the Biennale concept with art work
Biennalist / Venice Biennale
www.emergencyrooms.org/biennalist.html
#ThierryGeoffroy
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2019
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
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Thierry Geoffroy / Colonel
Saturday Mini Shopping Roadtrip
A windmill is a mill that converts the energy of wind into rotational energy by means of vanes called sails or blades.[1][2] Centuries ago, windmills usually were used to mill grain, pump water, or both. Thus they often were gristmills, windpumps, or both.[3] The majority of modern windmills take the form of wind turbines used to generate electricity, or windpumps used to pump water, either for land drainage or to extract groundwater.
Windmills in antiquity
Heron's wind-powered organ
The windwheel of the Greek engineer Heron of Alexandria in the first century is the earliest known instance of using a wind-driven wheel to power a machine.[4][5] Another early example of a wind-driven wheel was the prayer wheel, which has been used in Tibet and China since the fourth century.[6] It has been claimed that the Babylonian emperor Hammurabi planned to use wind power for his ambitious irrigation project in the seventeenth century BCE.[7]
Horizontal windmills
The Persian horizontal windmill
Hooper's Mill, Margate, Kent, an eighteenth-century European horizontal windmill
The first practical windmills had sails that rotated in a horizontal plane, around a vertical axis.[8] According to Ahmad Y. al-Hassan, these panemone windmills were invented in eastern Persia as recorded by the Persian geographer Estakhri in the ninth century.[9][10] The authenticity of an earlier anecdote of a windmill involving the second caliph Umar (AD 634–644) is questioned on the grounds that it appears in a tenth-century document.[11] Made of six to 12 sails covered in reed matting or cloth material, these windmills were used to grind grain or draw up water, and were quite different from the later European vertical windmills. Windmills were in widespread use across the Middle East and Central Asia, and later spread to China and India from there.[12]
A similar type of horizontal windmill with rectangular blades, used for irrigation, can also be found in thirteenth-century China (during the Jurchen Jin Dynasty in the north), introduced by the travels of Yelü Chucai to Turkestan in 1219.[13]
Horizontal windmills were built, in small numbers, in Europe during the 18th and nineteenth centuries,[8] for example Fowler's Mill at Battersea in London, and Hooper's Mill at Margate in Kent. These early modern examples seem not to have been directly influenced by the horizontal windmills of the Middle and Far East, but to have been independent inventions by engineers influenced by the Industrial Revolution.[14]
Vertical windmills
Due to a lack of evidence, debate occurs among historians as to whether or not Middle Eastern horizontal windmills triggered the original development of European windmills.[15][16][17][18] In northwestern Europe, the horizontal-axis or vertical windmill (so called due to the plane of the movement of its sails) is believed to date from the last quarter of the twelfth century in the triangle of northern France, eastern England and Flanders.[citation needed]
The earliest certain reference to a windmill in Europe (assumed to have been of the vertical type) dates from 1185, in the former village of Weedley in Yorkshire which was located at the southern tip of the Wold overlooking the Humber estuary.[19] A number of earlier, but less certainly dated, twelfth-century European sources referring to windmills have also been found.[20] These earliest mills were used to grind cereals.[citation needed]
STANDING TALL - After a drunk driver took her legs, this Army veteran turned her ordeal into Olympic glory
by Tim Barela
Torch Magazine
7/1/2012 - EDMOND, Okla. -- Kari Miller lost both her legs Dec. 19, 1999, when a drunk driver, speeding at 80 mph, smashed into the car in which she was a passenger. A 22-year-old Army sergeant at the time, a lot of things changed for her after that day. For instance? "I'm taller now," she said. Taller? "Yes, taller," she repeated defiantly. "I was 5'4 then; I'm 5'7 now," she said, breaking into a grin and pointing at her prosthetic legs. But these days Miller stands tallest when she sits down. She is a two-time Paralympic silver medalist in women's sitting volleyball, garnering her first in Beijing in 2008 and winning her second at the London Games Sept. 7. She is a giant in the sport, being named the world's best female libero -- or defensive specialist -- in the 2012 Paralympics.
Torch: You are a Paralympic sensation, becoming the planet's best at what you do; while in the Army you served across the globe in Bosnia, Germany and Korea as a transportation management coordinator; and you graduated from college while playing wheelchair basketball for the University of Illinois. What do you consider your best achievement?
Miller: The best thing I do is mentor warriors wounded in combat or other injured or ill veterans through the Paralympic military sports program. A lot of them are young, angry and depressed about their situation. Then they see me, talk to me and discover life's not over. I give them hope. I help them discover how sports cannot only help them physically, but mentally as well. Because after you've been severely injured, every little thing you do is a win. Whether it was a drunk driver or an enemy grenade, they took our legs, not our lives.
Torch: What is your first memory of the drunk driver crashing into you?
Miller: He hit us hard from behind ... so violently hard. I hear this horrible screeching sound of metal on metal. Our car starts spinning and spinning, and I remember thinking, "Oh, God, is it ever going to stop?" And then everything went black.
Torch: The car you were in left the road and slammed into a telephone pole, and you were knocked unconscious. What do you recall when you came to?
Miller: I look around and see Petey (Peter Dziwornooh, 25) -- the driver. I'm in the front seat next to him, and I'm like "Wake up! Wake up!" But he's out cold. (He did not survive the crash). Then I start looking at myself to see if I'm all in one piece. I'm thinking I'm OK. But I'm trapped, so I start screaming for help.
Torch: Were you feeling any pain?
Miller: No. Not really any pain, because I'm in shock. But the wreckage is squishing down on me -- like someone is sitting on my ribcage. I can hardly breathe ... I feel like I'm suffocating. I'm freaking out and start telling myself to relax and just go to sleep. But when I start to go unconscious, I see flashes of my mom and my grandma, and random memories pop up. My life is passing before my eyes. That scares me, so I fight it.
Torch: You asked to have your legs cut off. Why?
Miller: I'm still in the car. By this time they had cut the roof off, and a fireman is lying on top of the vehicle. I look straight up into his eyes. I'm like, "Hey, can you get me out of here?" He says, "Well, we're trying ... you're wrapped around a telephone pole." I tell him to just cut it down, but he says they can't. Then I joke, "You mean that telephone pole is worth more than me?" He laughs a little bit. Then this calmness just comes over me. It's weird because I'm trapped, I'm crushed, and it's getting harder and harder to breathe, but I have this moment of clarity. I look at him seriously, and I tell him, "Hey, if you have to cut my legs off to get me out of here, do it. I'll forgive you." He smiles at me and gives me a hug. Then he sticks a needle in me, and I drift off to sleep.
Torch: How badly were you injured?
Miller: Severely. Lots of crush injuries. Collapsed lung, hole in my intestine, multiple fractures. I had breaks in the ulna and radial of my left arm. A broken finger. My pelvis was crushed. Both femurs in my legs were broken. And, of course, I had my legs amputated -- my right one below the knee and my left one above.
Torch: Describe seeing your mom for the first time after the accident.
Miller: I wake up in the intensive care unit laying on a gurney with a tube down my throat, and I'm happy. I'm alive! Whew! Even though it's dark, I can see my mother. She looks so scared ... so worried. That frightens me. I'm not used to seeing my mom like that. She's a strong woman -- a Washington D.C. homicide detective. I can't speak because of the tube down my throat, so the nurse gives me some paper and a pencil. My mom is so hesitant to speak but finally asks me if I know what has happened. I tell her yes, I had been in a car wreck. Then she asks, "Yeah, but do you know everything that happened?" And I write, "Yeah, I lost my legs. ... But at least now I can be as tall as I want to be." Then she smiles, and you can just see all her fear melt away. She knew if I still had my sense of humor, I was going to be OK. We could work on everything else.
Torch: How much did your good sense of humor help in the recovery process?
Miller: It was huge. My family is really cool that way. My uncle came to see me, and he knows I love gummy bears. So he tells me if I hurry up and get better, he will get me some. Then he says, "Heck, I'll give you one right now. Want me to stick one down your tube." Down my breathing tube! I'm like, "Get this man out of here; he's trying to kill me!" But it's good to be able to laugh. It helps you mentally. You don't feel so sorry for yourself.
Torch: What was the toughest part of recovery?
Miller: Learning to walk again. With one above-the-knee amputation and one below, I had to learn to walk two different ways with one body. The right leg did one thing, the left another -- very frustrating.
Torch: In addition to your sense of humor and family what else did you draw from during your recovery?
Miller: Sports. Sports have like a magical healing power. I've been around sports all my life, and played basketball and ran track competitively when I was in high school.
Torch: So how is it, then, that you ended up playing volleyball?
Miller: The funny thing is I hated volleyball. I couldn't stand those little spandex booty shorts they wear with everything hanging out. So the first thing I tried was wheelchair basketball -- my mom, who coached me when I was younger, helped introduce me to that. I ended up playing wheelchair basketball at the University of Illinois. I got good enough at that to try out for the U.S. Paralympic wheelchair basketball team in 2004. But I didn't make the team. That's when a teammate suggested I try sitting volleyball. I was upset, but decided I'd go for it.
Torch: When did you fall in love with volleyball?
Miller: I was at a sitting volleyball camp, and the coach was explaining some things to me. He told me if the ball goes above your head, use your hands. If it comes down low, use your forearms. Seemed simple enough. So then there's this big chick -- one of her hands was like two of mine -- and it's her turn to serve the ball. She bounces it, tosses it in the air, reaches back and swings directly at me. The ball has fire coming out the back of it, and it's headed right for my face. First I'm thinking, "Use your forearms! ... no use your hands!" Then, I'm like, "Abort! Abort!" And I jump out of the way and scream. My coach says, "Kari, there's no screaming in volleyball." But I barely hear him because my adrenalin is pumping and I'm excited. For some reason, that element of danger got my competitive juices flowing. I thought, "This is awesome!" The rest is history.
Torch: At age 35 and two silver medals on the biggest sports stage, was this your last Paralympics?
Miller: We'll see. I still love to compete, but I might move into coaching. And I want to get my doctorate's degree in physical therapy.
Torch: What makes you think you'll enjoy coaching?
Miller: Well, I've been around sports all my life and can't imagine my life without them. Serving as a mentor to wounded warriors and coaching them has been probably the most meaningful thing I have done. As a matter of fact, the Army just selected me to be the coach for their next Warrior Games team. I'm really excited about it.
Torch: You've come a long way. But are you still angry at the drunk driver who cost you your legs and took your friend, Petey's, life?
Miller: No, I'm not angry at him. He was a young guy who made a bad mistake and is paying the price (prison time). He wasn't some repeat offender; he wasn't malicious. Truthfully, back in the day ... I've been guilty of drinking and driving. I was just lucky that I never did anything that caused someone else harm. I still have a great life. I have my family. I have my friends. ... I have volleyball.
Torch: And to others who would drink and drive?
Miller: Don't do it. It's not worth it. Turns out the drunk driver who hit us knew Petey. They were friends. I would rather be on my side of this than his. I couldn't live with the guilt.
Information from: en.wikipedia.org/wiki/Cape_Cod
Cape Cod
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This article is about the area of Massachusetts. For other uses, see Cape Cod (disambiguation).
For other uses, see Cod (disambiguation).
Coordinates: 41°41′20″N 70°17′49″W / 41.68889°N 70.29694°W / 41.68889; -70.29694
Map of Massachusetts, with Cape Cod (Barnstable County) indicated in red
Dunes on Sandy Neck are part of the Cape's barrier beach which helps to prevent erosion
Cape Cod, often referred to locally as simply the Cape, is an island and a cape in the easternmost portion of the state of Massachusetts, in the Northeastern United States. It is coextensive with Barnstable County. Several small islands right off Cape Cod, including Monomoy Island, Monomoscoy Island, Popponesset Island, and Seconsett Island, are also in Barnstable County, being part of municipalities with land on the Cape. The Cape's small-town character and large beachfront attract heavy tourism during the summer months.
Cape Cod was formed as the terminal moraine of a glacier, resulting in a peninsula in the Atlantic Ocean. In 1914, the Cape Cod Canal was cut through the base or isthmus of the peninsula, forming an island. The Cape Cod Commission refers to the resultant landmass as an island; as does the Federal Emergency Management Agency (FEMA) in regards to disaster preparedness.[1] It is still identified as a peninsula by geographers, who do not change landform designations based on man-made canal construction.[citation needed]
Unofficially, it is one of the biggest barrier islands in the world, shielding much of the Massachusetts coastline from North Atlantic storm waves. This protection helps to erode the Cape shoreline at the expense of cliffs, while protecting towns from Fairhaven to Marshfield.
Road vehicles from the mainland cross over the Cape Cod Canal via the Sagamore Bridge and the Bourne Bridge. The two bridges are parallel, with the Bourne Bridge located slightly farther southwest. In addition, the Cape Cod Canal Railroad Bridge carries railway freight as well as tourist passenger services.
Contents
[hide]
* 1 Geography and political divisions
o 1.1 "Upper" and "Lower"
* 2 Geology
* 3 Climate
* 4 Native population
* 5 History
* 6 Lighthouses of Cape Cod
* 7 Transportation
o 7.1 Bus
o 7.2 Rail
o 7.3 Taxi
* 8 Tourism
* 9 Sport fishing
* 10 Sports
* 11 Education
* 12 Islands off Cape Cod
* 13 See also
* 14 References
o 14.1 Notes
o 14.2 Sources
o 14.3 Further reading
* 15 External links
[edit] Geography and political divisions
Towns of Barnstable County
historical map of 1890
The highest elevation on Cape Cod is 306 feet (93 m), at the top of Pine Hill, in the Bourne portion of the Massachusetts Military Reservation. The lowest point is sea level.
The body of water located between Cape Cod and the mainland, bordered to the north by Massachusetts Bay, is Cape Cod Bay; west of Cape Cod is Buzzards Bay. The Cape Cod Canal, completed in 1916, connects Buzzards Bay to Cape Cod Bay; it shortened the trade route between New York and Boston by 62 miles.[2] To the south of Cape Cod lie Nantucket Sound; Nantucket and Martha's Vineyard, both large islands, and the mostly privately owned Elizabeth Islands.
Cape Cod incorporates all of Barnstable County, which comprises 15 towns: Bourne, Sandwich, Falmouth, and Mashpee, Barnstable, Yarmouth, Dennis, Harwich, Brewster, Chatham, Orleans, Eastham, Wellfleet, Truro, and Provincetown. Two of the county's fifteen towns (Bourne and Sandwich) include land on the mainland side of the Cape Cod Canal. The towns of Plymouth and Wareham, in adjacent Plymouth County, are sometimes considered to be part of Cape Cod but are not located on the island.
In the 17th century the designation Cape Cod applied only to the tip of the peninsula, essentially present-day Provincetown. Over the ensuing decades, the name came to mean all the land east of the Manomet and Scussett rivers - essentially the line of the 20th century Cape Cod Canal. Now, the complete towns of Bourne and Sandwich are widely considered to incorporate the full perimeter of Cape Cod, even though small parts of these towns are located on the west side of the canal. The canal divides the largest part of the peninsula from the mainland and the resultant landmass is sometimes referred to as an island.[3][4] Additionally some "Cape Codders" – residents of "The Cape" – refer to all land on the mainland side of the canal as "off-Cape."
For most of the 18th, 19th, and 20th centuries, Cape Cod was considered to consist of three sections:
* The Upper Cape is the part of Cape Cod closest to the mainland, comprising the towns of Bourne, Sandwich, Falmouth, and Mashpee. Falmouth is the home of the famous Woods Hole Oceanographic Institution and several other research organizations, and is also the most-used ferry connection to Martha's Vineyard. Falmouth is composed of several separate villages, including East Falmouth, Falmouth Village, Hatchville, North Falmouth, Teaticket, Waquoit, West Falmouth, and Woods Hole, as well as several smaller hamlets that are incorporated into their larger neighbors (e.g., Davisville, Falmouth Heights, Quissett, Sippewissett, and others).[5]
* The Mid-Cape includes the towns of Barnstable, Yarmouth and Dennis. The Mid-Cape area features many beautiful beaches, including warm-water beaches along Nantucket Sound, e.g., Kalmus Beach in Hyannis, which gets its name from one of the inventors of Technicolor, Herbert Kalmus. This popular windsurfing destination was bequeathed to the town of Barnstable by Dr. Kalmus on condition that it not be developed, possibly one of the first instances of open-space preservation in the US. The Mid-Cape is also the commercial and industrial center of the region. There are seven villages in Barnstable, including Barnstable Village, Centerville, Cotuit, Hyannis, Marstons Mills, Osterville, and West Barnstable, as well as several smaller hamlets that are incorporated into their larger neighbors (e.g., Craigville, Cummaquid, Hyannisport, Santuit, Wianno, and others).[6] There are three villages in Yarmouth: South Yarmouth, West Yarmouth and Yarmouthport. There are five villages in Dennis including, Dennis Village(North Dennis), East Dennis, West Dennis, South Dennis and Dennisport.[7]
* The Lower Cape traditionally included all of the rest of the Cape,or the towns of Harwich, Brewster, Chatham, Orleans, Eastham, Wellfleet, Truro, and Provincetown. This area includes the Cape Cod National Seashore, a national park comprising much of the outer Cape, including the entire east-facing coast, and is home to some of the most popular beaches in America, such as Coast Guard Beach and Nauset Light Beach in Eastham. Stephen Leatherman, aka "Dr. Beach", named Coast Guard Beach the 5th best beach in America for 2007.[8]
[edit] "Upper" and "Lower"
The terms "Upper" and "Lower" as applied to the Cape have nothing to do with north and south. Instead, they derive from maritime convention at the time when the principal means of transportation involved watercraft, and the prevailing westerly winds meant that a boat with sails traveling northeast in Cape Cod Bay would have the wind at its back and thus be going downwind, while a craft sailing southwest would be going against the wind, or upwind.[9] Similarly, on nearby Martha's Vineyard, "Up Island" still is the western section and "Down Island" is to the east, and in Maine, "Down East" is similarly defined by the winds and currents.
Over time, the reasons for the traditional nomenclature became unfamiliar and their meaning obscure. Late in the 1900s, new arrivals began calling towns from Eastham to Provincetown the "Outer Cape", yet another geographic descriptor which is still in use, as is the "Inner Cape."
[edit] Geology
Cape Cod and Cape Cod Bay from space.[10]
East of America, there stands in the open Atlantic the last fragment of an ancient and vanished land. Worn by the breakers and the rains, and disintegrated by the wind, it still stands bold.
“
”
Henry Beston, The Outermost House
Cape Cod forms a continuous archipelagic region with a thin line of islands stretching toward New York, historically known by naturalists as the Outer Lands. This continuity is due to the fact that the islands and Cape are all terminal glacial moraines laid down some 16,000 to 20,000 years ago.
Most of Cape Cod's geological history involves the advance and retreat of the Laurentide ice sheet in the late Pleistocene geological era and the subsequent changes in sea level. Using radiocarbon dating techniques, researchers have determined that around 23,000 years ago, the ice sheet reached its maximum southward advance over North America, and then started to retreat. Many "kettle ponds" — clear, cold lakes — were formed and remain on Cape Cod as a result of the receding glacier. By about 18,000 years ago, the ice sheet had retreated past Cape Cod. By roughly 15,000 years ago, it had retreated past southern New England. When so much of Earth's water was locked up in massive ice sheets, the sea level was lower. Truro's bayside beaches used to be a petrified forest, before it became a beach.
As the ice began to melt, the sea began to rise. Initially, sea level rose quickly, about 15 meters (50 ft) per 1,000 years, but then the rate declined. On Cape Cod, sea level rose roughly 3 meters (11 ft) per millennium between 6,000 and 2,000 years ago. After that, it continued to rise at about 1 meter (3 ft) per millennium. By 6,000 years ago, the sea level was high enough to start eroding the glacial deposits that the vanished continental ice sheet had left on Cape Cod. The water transported the eroded deposits north and south along the outer Cape's shoreline. Those reworked sediments that moved north went to the tip of Cape Cod.
Provincetown Spit, at the northern end of the Cape, consists largely of marine deposits, transported from farther up the shore. Sediments that moved south created the islands and shoals of Monomoy. So while other parts of the Cape have dwindled from the action of the waves, these parts of the Cape have grown.
Cape Cod National Seashore
This process continues today. Due to their position jutting out into the Atlantic Ocean, the Cape and islands are subject to massive coastal erosion. Geologists say that, due to erosion, the Cape will be completely submerged by the sea in thousands of years.[11] This erosion causes the washout of beaches and the destruction of the barrier islands; for example, the ocean broke through the barrier island at Chatham during Hurricane Bob in 1991, allowing waves and storm surges to hit the coast with no obstruction. Consequently, the sediment and sand from the beaches is being washed away and deposited elsewhere. While this destroys land in some places, it creates land elsewhere, most noticeably in marshes where sediment is deposited by waters running through them.
[edit] Climate
Although Cape Cod's weather[12] is typically more moderate than inland locations, there have been occasions where Cape Cod has dealt with the brunt of extreme weather situations (such as the Blizzard of 1954 and Hurricane of 1938). Because of the influence of the Atlantic Ocean, temperatures are typically a few degrees cooler in the summer and a few degrees warmer in the winter. A common misconception is that the climate is influenced largely by the warm Gulf Stream current, however that current turns eastward off the coast of Virginia and the waters off the Cape are more influenced by the cold Canadian Labrador Current. As a result, the ocean temperature rarely gets above 65 °F (18 °C), except along the shallow west coast of the Upper Cape.
The Cape's climate is also notorious for a delayed spring season, being surrounded by an ocean which is still cold from the winter; however, it is also known for an exceptionally mild fall season (Indian summer), thanks to the ocean remaining warm from the summer. The highest temperature ever recorded on Cape Cod was 104 °F (40 °C) in Provincetown[13], and the lowest temperature ever was −12 °F (−24.4 °C) in Barnstable.[14]
The water surrounding Cape Cod moderates winter temperatures enough to extend the USDA hardiness zone 7a to its northernmost limit in eastern North America.[15] Even though zone 7a (annual low = 0–5 degrees Fahrenheit) signifies no sub-zero temperatures annually, there have been several instances of temperatures reaching a few degrees below zero across the Cape (although it is rare, usually 1–5 times a year, typically depending on locale, sometimes not at all). Consequently, many plant species typically found in more southerly latitudes grow there, including Camellias, Ilex opaca, Magnolia grandiflora and Albizia julibrissin.
Precipitation on Cape Cod and the islands of Martha's Vineyard and Nantucket is the lowest in the New England region, averaging slightly less than 40 inches (1,000 mm) a year (most parts of New England average 42–46 inches). This is due to storm systems which move across western areas, building up in mountainous regions, and dissipating before reaching the coast where the land has leveled out. The region does not experience a greater number of sunny days however, as the number of cloudy days is the same as inland locales, in addition to increased fog. Snowfall is annual, but a lot less common than the rest of Massachusetts. On average, 30 inches of snow, which is a foot less than Boston, falls in an average winter. Snow is usually light, and comes in squalls on cold days. Storms that bring blizzard conditions and snow emergencies to the mainland, bring devastating ice storms or just heavy rains more frequently than large snow storms.
[hide]Climate data for Cape Cod
Month Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Year
Average high °C (°F) 2.06
(35.7) 2.5
(36.5) 6.22
(43.2) 11.72
(53.1) 16.94
(62.5) 23.5
(74.3) 26.39
(79.5) 26.67
(80.0) 25.06
(77.1) 18.39
(65.1) 12.56
(54.6) 5.44
(41.8) 26.67
(80.0)
Average low °C (°F) -5.33
(22.4) -5
(23.0) -1.33
(29.6) 2.72
(36.9) 8.72
(47.7) 14.61
(58.3) 19.22
(66.6) 20.28
(68.5) 15.56
(60.0) 9.94
(49.9) 3.94
(39.1) -2.22
(28.0) -5.33
(22.4)
Precipitation mm (inches) 98
(3.86) 75.4
(2.97) 95
(3.74) 92.5
(3.64) 83.6
(3.29) 76.7
(3.02) 62.2
(2.45) 65
(2.56) 74.7
(2.94) 84.8
(3.34) 90.7
(3.57) 92.7
(3.65) 990.9
(39.01)
Source: World Meteorological Organisation (United Nations) [16]
[edit] Native population
Cape Cod has been the home of the Wampanoag tribe of Native American people for many centuries. They survived off the sea and were accomplished farmers. They understood the principles of sustainable forest management, and were known to light controlled fires to keep the underbrush in check. They helped the Pilgrims, who arrived in the fall of 1620, survive at their new Plymouth Colony. At the time, the dominant group was the Kakopee, known for their abilities at fishing. They were the first Native Americans to use large casting nets. Early colonial settlers recorded that the Kakopee numbered nearly 7,000.
Shortly after the Pilgrims arrived, the chief of the Kakopee, Mogauhok, attempted to make a treaty limiting colonial settlements. The effort failed after he succumbed to smallpox in 1625. Infectious diseases such as smallpox, measles and influenza caused the deaths of many other Kakopee and Wampanoag. They had no natural immunity to Eurasian diseases by then endemic among the English and other Europeans. Today, the only reminder of the Kakopee is a small public recreation area in Barnstable named for them. A historic marker notes the burial site of Mogauhok near Truro, although the location is conjecture.
While contractors were digging test wells in the eastern Massachusetts Military Reservation area, they discovered an archeological find.[citation needed] Excavation revealed the remains of a Kakopee village in Forestdale, a location in Sandwich. Researchers found a totem with a painted image of Mogauhok, portrayed in his chief's cape and brooch. The totem was discovered on property on Grand Oak Road. It is the first evidence other than colonial accounts of his role as an important Kakopee leader.
The Indians lost their lands through continued purchase and expropriation by the English colonists. The documentary Natives of the Narrowland (1993), narrated by actress Julie Harris, shows the history of the Wampanoag people through Cape Cod archaeological sites.
In 1974, the Mashpee Wampanoag Tribal Council was formed to articulate the concerns of those with Native American ancestry. They petitioned the federal government in 1975 and again in 1990 for official recognition of the Mashpee Wampanoag as a tribe. In May 2007, the Wampanoag tribe was finally federally recognized as a tribe.[17]
[edit] History
Cranberry picking in 1906
Cape Cod was a landmark for early explorers. It may have been the "Promontory of Vinland" mentioned by the Norse voyagers (985-1025). Giovanni da Verrazzano in 1524 approached it from the south. He named Martha's Vineyard Claudia, after the mother of the King of France.[18] The next year the explorer Esteban Gómez called it Cape St. James.
In 1602 Bartholomew Gosnold named it Cape Cod, the surviving term and the ninth oldest English place-name in the U.S.[19] Samuel de Champlain charted its sand-silted harbors in 1606 and Henry Hudson landed there in 1609. Captain John Smith noted it on his map of 1614 and at last the Pilgrims entered the "Cape Harbor" and – contrary to the popular myth of Plymouth Rock – made their first landing near present-day Provincetown on November 11, 1620. Nearby, in what is now Eastham, they had their first encounter with Native Americans.
Cape Cod was among the first places settled by the English in North America. Aside from Barnstable (1639), Sandwich (1637) and Yarmouth (1639), the Cape's fifteen towns developed slowly. The final town to be established on the Cape was Bourne in 1884.[20] Provincetown was a group of huts until the 18th century. A channel from Massachusetts Bay to Buzzards Bay is shown on Southack's map of 1717. The present Cape Cod Canal was slowly developed from 1870 to 1914. The Federal government purchased it in 1928.
Thanks to early colonial settlement and intensive land use, by the time Henry Thoreau saw Cape Cod during his four visits over 1849 to 1857[21], its vegetation was depauperate and trees were scarce. As the settlers heated by fires, and it took 10 to 20 cords (40 to 80 m³) of wood to heat a home, they cleared most of Cape Cod of timber early on. They planted familiar crops, but these were unsuited to Cape Cod's thin, glacially derived soils. For instance, much of Eastham was planted to wheat. The settlers practiced burning of woodlands to release nutrients into the soil. Improper and intensive farming led to erosion and the loss of topsoil. Farmers grazed their cattle on the grassy dunes of coastal Massachusetts, only to watch "in horror as the denuded sands `walked' over richer lands, burying cultivated fields and fences." Dunes on the outer Cape became more common and many harbors filled in with eroded soils.[22]
By 1800, most of Cape Cod's firewood had to be transported by boat from Maine. The paucity of vegetation was worsened by the raising of merino sheep that reached its peak in New England around 1840. The early industrial revolution, which occurred through much of Massachusetts and Rhode Island, mostly bypassed Cape Cod due to a lack of significant water power in the area. As a result, and also because of its geographic position, the Cape developed as a large fishing and whaling center. After 1860 and the opening of the American West, farmers abandoned agriculture on the Cape. By 1950 forests had recovered to an extent not seen since the 18th century.
Cape Cod became a summer haven for city dwellers beginning at the end of the 19th century. Improved rail transportation made the towns of the Upper Cape, such as Bourne and Falmouth, accessible to Bostonians. At the beginning of the twentieth century, the Northeastern mercantile elite built many large, shingled "cottages" along Buzzards Bay. The relaxed summer environment offered by Cape Cod was highlighted by writers including Joseph C. Lincoln, who published novels and countless short stories about Cape Cod folks in popular magazines such as the Saturday Evening Post and the Delineator.
Guglielmo Marconi made the first transatlantic wireless transmission originating in the United States from Cape Cod, at Wellfleet. The beach from which he transmitted has since been called Marconi Beach. In 1914 he opened the maritime wireless station WCC in Chatham. It supported the communications of Amelia Earhart, Howard Hughes, Admiral Byrd, and the Hindenburg. Marconi chose Chatham due to its vantage point on the Atlantic Ocean, surrounded on three sides by water. Walter Cronkite narrated a 17-minute documentary in 2005 about the history of the Chatham Station.
Much of the East-facing Atlantic seacoast of Cape Cod consists of wide, sandy beaches. In 1961, a significant portion of this coastline, already slated for housing subdivisions, was made a part of the Cape Cod National Seashore by President John F. Kennedy. It was protected from private development and preserved for public use. Large portions are open to the public, including the Marconi Site in Wellfleet. This is a park encompassing the site of the first two-way transoceanic radio transmission from the United States. (Theodore Roosevelt used Marconi's equipment for this transmission).
The Kennedy Compound in Hyannisport was President Kennedy's summer White House during his presidency. The Kennedy family continues to maintain residences on the compound. Other notable residents of Cape Cod have included actress Julie Harris, US Supreme Court justice Louis Brandeis, figure skater Todd Eldredge, and novelists Norman Mailer and Kurt Vonnegut. Influential natives included the patriot James Otis, historian and writer Mercy Otis Warren, jurist Lemuel Shaw, and naval officer John Percival.
[edit] Lighthouses of Cape Cod
Race Point Lighthouse in Provincetown (1876)
Lighthouses, from ancient times, have fascinated members of the human race. There is something about a lighted beacon that suggests hope and trust and appeals to the better instincts of mankind.
“
”
Edward Rowe Snow
Due to its dangerous constantly moving shoals, Cape Cod's shores have featured beacons which warn ships of the danger since very early in its history. There are numerous working lighthouses on Cape Cod and the Islands, including Highland Light, Nauset Light, Chatham Light, Race Point Light, and Nobska Light, mostly operated by the U.S. Coast Guard. The exception is Nauset Light, which was decommissioned in 1996 and is now maintained by the Nauset Light Preservation Society under the auspices of Cape Cod National Seashore. These lighthouses are frequently photographed symbols of Cape Cod.
Others include:
Upper Cape: Wings Neck
Mid Cape: Sandy Neck, South Hyannis, Lewis Bay, Bishop and Clerks, Bass River
Lower Cape: Wood End, Long Point, Monomoy, Stage Harbor, Pamet, Mayo Beach, Billingsgate, Three Sisters, Nauset, Highland
[edit] Transportation
Cape Cod is connected to the mainland by a pair of canal-spanning highway bridges from Bourne and Sagamore that were constructed in the 1930s, and a vertical-lift railroad bridge. The limited number of access points to the peninsula can result in large traffic backups during the tourist season.
The entire Cape is roughly bisected lengthwise by U.S. Route 6, locally known as the Mid-Cape Highway and officially as the Grand Army of the Republic Highway.
Commercial air service to Cape Cod operates out of Barnstable Municipal Airport and Provincetown Municipal Airport. Several bus lines service the Cape. There are ferry connections from Boston to Provincetown, as well as from Hyannis and Woods Hole to the islands.
Cape Cod has a public transportation network comprising buses operated by three different companies, a rail line, taxis and paratransit services.
The Bourne Bridge over the Cape Cod Canal, with the Cape Cod Canal Railroad Bridge in the background
[edit] Bus
Cape Cod Regional Transit Authority operates a year-round public bus system comprising three long distance routes and a local bus in Hyannis and Barnstable Village. From mid June until October, additional local routes are added in Falmouth and Provincetown. CCRTA also operates Barnstable County's ADA required paratransit (dial-a-ride) service, under the name "B-Bus."
Long distance bus service is available through Plymouth and Brockton Street Railway, with regular service to Boston and Logan Airport, as well as less frequent service to Provincetown. Peter Pan Bus Lines also runs long distance service to Providence T.F. Green Airport and New York City.
[edit] Rail
Regular passenger rail service through Cape Cod ended in 1959, quite possibly on June 30 of that year. In 1978, the tracks east of South Dennis were abandoned and replaced with the very popular bicycle path, known as the Cape Cod Rail Trail. Another bike path, the Shining Sea Bikeway, was built over tracks between Woods Hole and Falmouth in 1975; construction to extend this path to North Falmouth over 6.3 miles (10.1 km) of inactive rail bed began in April 2008[23] and ended in early 2009. Active freight service remains in the Upper Cape area in Sandwich and in Bourne, largely due to a trash transfer station located at Massachusetts Military Reservation along the Bourne-Falmouth rail line. In 1986, Amtrak ran a seasonal service in the summer from New York City to Hyannis called the Cape Codder. From 1988, Amtrak and the Massachusetts Department of Transportation increased service to a daily frequency.[24] Since its demise in 1996, there have been periodic discussions about reinstating passenger rail service from Boston to reduce car traffic to and from the Cape, with officials in Bourne seeking to re-extend MBTA Commuter Rail service from Middleboro to Buzzards Bay[25], despite a reluctant Beacon Hill legislature.
Cape Cod Central Railroad operates passenger train service on Cape Cod. The service is primarily tourist oriented and includes a dinner train. The scenic route between Downtown Hyannis and the Cape Cod Canal is about 2½ hours round trip. Massachusetts Coastal Railroad is also planning to return passenger railroad services eventually to the Bourne-Falmouth rail line in the future. An August 5, 2009 article on the New England Cable News channel, entitled South Coast rail project a priority for Mass. lawmakers, mentions a $1.4-billion railroad reconstruction plan by Governor Deval Patrick, and could mean rebuilding of old rail lines on the Cape. On November 21, 2009, the town of Falmouth saw its first passenger train in 12 years, a set of dinner train cars from Cape Cod Central. And a trip from the Mass Bay Railroad Enthusiasts on May 15, 2010 revealed a second trip along the Falmouth line.
[edit] Taxi
Taxicabs are plentiful, with several different companies operating out of different parts of the Cape. Except at the airport and some bus terminals with taxi stands, cabs must be booked ahead of time, with most operators preferring two to three hours notice. Cabs cannot be "hailed" anywhere in Barnstable County, this was outlawed in the early nineties after several robbery attempts on drivers.
Most companies utilize a New York City-style taximeter and charge based on distance plus an initial fee of $2 to $3. In Provincetown, cabs charge a flat fare per person anywhere in the town.
[edit] Tourism
Hyannis Harbor on Nantucket Sound
Although Cape Cod has a year-round population of about 230,000, it experiences a tourist season each summer, the beginning and end of which can be roughly approximated as Memorial Day and Labor Day, respectively. Many businesses are specifically targeted to summer visitors, and close during the eight to nine months of the "off season" (although the "on season" has been expanding somewhat in recent years due to Indian Summer, reduced lodging rates, and the number of people visiting the Cape after Labor Day who either have no school-age children, and the elderly, reducing the true "off season" to six or seven months). In the late 20th century, tourists and owners of second homes began visiting the Cape more and more in the spring and fall, softening the definition of the high season and expanding it somewhat (see above). Some particularly well-known Cape products and industries include cranberries, shellfish (particularly oysters and clams) and lobstering.
Provincetown, at the tip of Cape Cod, also berths several whale watching fleets who patrol the Stellwagen Bank National Marine Sanctuary. Most fleets guarantee a whale sighting (mostly humpback whale, fin whale, minke whale, sei whale, and critically endangered, the North Atlantic Right Whale), and one is the only federally certified operation qualified to rescue whales. Provincetown has also long been known as an art colony, attracting writers and artists. The town is home to the Cape's most attended art museum, the Provincetown Art Association and Museum. Many hotels and resorts are friendly to or cater to gay and lesbian tourists and it is known as a gay mecca in the summer.[26]
Cape Cod is a popular destination for beachgoers from all over. With 559.6 miles (900.6 km) of coastline, beaches, both public and private, are easily accessible. The Cape has upwards of sixty public beaches, many of which offer parking for non-residents for a daily fee (in summer). The Cape Cod National Seashore has 40 miles (64 km) of sandy beach and many walking paths.
Cape Cod is also popular for its outdoor activities like beach walking, biking, boating, fishing, go-karts, golfing, kayaking, miniature golf, and unique shopping. There are 27 public, daily-fee golf courses and 15 private courses on Cape Cod.[27] Bed and breakfasts or vacation houses are often used for lodging.
Each summer the Naukabout Music Festival is held at the Barnstable County Fair Grounds located in East Falmouth,(typically) during the first weekend of August. This Music festival features local, regional and national talent along with food, arts and family friendly activities.
[edit] Sport fishing
Cape Cod is known around the world as a spring-to-fall destination for sport anglers. Among the species most widely pursued are striped bass, bluefish, bluefin tuna, false albacore (little tunny), bonito, tautog, flounder and fluke. The Cape Cod Bay side of the Cape, from Sandwich to Provincetown, has several harbors, saltwater creeks, and shoals that hold bait fish and attract the larger game fish, such as striped bass, bluefish and bluefin tuna.
The outer edge of the Cape, from Provincetown to Falmouth, faces the open Atlantic from Provincetown to Chatham, and then the more protected water of Nantucket and Vineyard Sounds, from Chatham to Falmouth. The bays, harbors and shoals along this coastline also provide a robust habitat for game species, and during the late summer months warm-water species such as mahi-mahi and marlin will also appear on the southern edge of Cape Cod's waters. Nearly every harbor on Cape Cod hosts sport fishing charter boats, which run from May through October.[28]
[edit] Sports
The Cape has nine amateur baseball franchises playing within Barnstable County in the Cape Cod Baseball League. The Wareham Gatemen also play in the Cape Cod Baseball League in nearby Wareham, Massachusetts in Plymouth County. The league originated 1923, although intertown competition traces to 1866. Teams in the league are the Bourne Braves, Brewster Whitecaps, Chatham Anglers (formerly the Chatham Athletics), Cotuit Kettleers, Falmouth Commodores, Harwich Mariners, Hyannis Harbor Hawks (formerly the Hyannis Mets), Orleans Firebirds (formerly the Orleans Cardinals), Wareham Gatemen and the Yarmouth-Dennis Red Sox. Pro ball scouts frequent the games in the summer, looking for stars of the future.
Cape Cod is also a national hot bed for baseball and hockey. Along with the Cape Cod Baseball League and the new Junior Hockey League team, the Cape Cod Cubs, many high school players are being seriously recruited as well. Barnstable and Harwich have each sent multiple players to Division 1 colleges for baseball, Harwich has also won three State titles in the past 12 years (1996, 2006, 2007). Bourne and Sandwich, known rivals in hockey have won state championships recently. Bourne in 2004, and Sandwich in 2007. Nauset, Barnstable, and Martha's Vineyard are also state hockey powerhouses. Barnstable and Falmouth also hold the title of having one of the longest Thanksgiving football rivalries in the country. The teams have played each other every year on the Thanksgiving since 1895. The Bourne and Barnstable girl's volleyball teams are two of the best teams in the state and Barnstable in the country. With Bourne winning the State title in 2003 and 2007. In the past 15 years, Barnstable has won 12 Division 1 State titles and has won the state title the past two years.
The Cape also is home to the Cape Cod Frenzy, a team in the American Basketball Association.
Soccer on Cape Cod is represented by the Cape Cod Crusaders, playing in the USL Premier Development League (PDL) soccer based in Hyannis. In addition, a summer Cape Cod Adult Soccer League (CCASL) is active in several towns on the Cape.
Cape Cod is also the home of the Cape Cod Cubs, a new junior league hockey team that is based out of Hyannis at the new communtiy center being built of Bearses Way.
The end of each summer is marked with the running of the world famous Falmouth Road Race which is held on the 3rd Saturday in August. It draws about 10,000 runners to the Cape and showcases the finest runners in the world (mainly for the large purse that the race is able to offer). The race is 7.2 miles (11.6 km) long, which is a non-standard distance. The reason for the unusual distance is that the man who thought the race up (Tommy Leonard) was a bartender who wanted a race along the coast from one bar (The Cap'n Kidd in Woods Hole) to another (The Brothers Four in Falmouth Heights). While the bar in Falmouth Heights is no longer there, the race still starts at the front door of the Cap'n Kidd in Woods Hole and now finishes at the beach in Falmouth Heights. Prior to the Falmouth race is an annual 5-mile (8.0 km) race through Brewster called the Brew Run, held early in August.
[edit] Education
Each town usually consists of a few elementary schools, one or two middle schools and one large public high school that services the entire town. Exceptions to this include Dennis-Yarmouth Regional High School located in Yarmouth which services both the town of Yarmouth as well as Dennis and Nauset Regional High School located in Eastham which services the town of Brewster, Orleans, Eastham, Wellfleet, Truro, and Provincetown (optional). Bourne High School is the public school for students residing in the town of Bourne, which is gathered from villages in Bourne, including Sagamore, Sagamore Beach, and Buzzards Bay. Barnstable High School is the largest high school and is known for its girls' volleyball team which have been state champions a total of 12 times. Barnstable High School also boasts one of the country's best high school drama clubs which were awarded with a contract by Warner Brothers to created a documentary in webisode format based on their production of Wizard of Oz. Sturgis Charter Public School is a public school in Hyannis which was featured in Newsweek's Magazine's "Best High Schools" ranking. It ranked 28th in the country and 1st in the state of Massachusetts in the 2009 edition and ranked 43rd and 55th in the 2008 and 2007 edition, respectively. Sturgis offers the International Baccalaureate Diploma Programme in their junior and senior year and is open to students as far as Plymouth. The Cape also contains two vocational high schools. One is the Cape Cod Regional Technical High School in Harwich and the other is Upper Cape Cod Regional Technical High School located in Bourne. Lastly, Mashpee High School is home to the Mashpee Chapter of (SMPTE,) the Society of Motion Picture and Television Engineers. This chapter is the first and only high school chapter in the world to be a part of this organization and has received much recognition within the Los Angeles broadcasting industry as a result. The officers of this group who have made history are listed below:
* President: Ryan D. Stanley '11
* Vice-President Kenneth J. Peters '13
* Treasurer Eric N. Bergquist '11
* Secretary Andrew L. Medlar '11
In addition to public schools, Cape Cod has a wide range of private schools. The town of Barnstable has Trinity Christian Academy, Cape Cod Academy, St. Francis Xavier Preparatory School, and Pope John Paul II High School. Bourne offers the Waldorf School of Cape Cod, Orleans offers the Lighthouse Charter School for elementary and middle school students, and Falmouth offers Falmouth Academy. Riverview School is located in East Sandwich and is a special co-ed boarding school which services students as old as 22 who have learning disabilities. Another specialized school is the Penikese Island School located on Penikese Island, part of the Elizabeth Islands off southwestern Cape Cod, which services struggling and troubled teenage boys.
Cape Cod also contains two institutions of higher education. One is the Cape Cod Community College located in West Barnstable, Barnstable. The other is Massachusetts Maritime Academy in Buzzards Bay, Bourne. Massachusetts Maritime Academy is the oldest continuously operating maritime college in the United States.
[edit] Islands off Cape Cod
Like Cape Cod itself, the islands south of the Cape have evolved from whaling and trading areas to resort destinations, attracting wealthy families, celebrities, and other tourists. The islands include Nantucket and Martha's Vineyard, as well as Forbes family-owned Naushon Island, which was purchased by John Murray Forbes with profits from opium dealing in the China trade during the Opium War. Naushon is one of the Elizabeth Islands, many of which are privately owned. One of the publicly accessible Elizabeths is the southernmost island in the chain, Cuttyhunk, with a year-round population of 52 people. Several prominent families have established compounds or estates on the larger islands, making these islands some of the wealthiest resorts in the Northeast, yet they retain much of the early merchant trading and whaling culture.
12/365 7/52 - Books
"“My behaviour is nonetheless, deplorable. Unfortunately, I'm quite prone to such bouts of deplorability--take for instance, my fondness for reading books at the dinner table.”
I know there is something wrong with this but I decided I would leave it as I was scared I would over-edit it.
So today I was meant to have done everything on my to do list, well that hasn't happened again. But I need to hurry as I'm looking at Universities and need to decide where it is I'm going to. I'm far too picky.
All I wanted to do today was curl up in a ball and read.
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Hogna lenta are an ambush predator. They emerge at night from their burrows and wait and wait and wait. Eventually some unsuspecting critter (in this case a cricket) will stroll on by, going about it's business, and pass within striking distance of this tiger of the invert world and BOOM.... Hogna lenta leaps onto its prey, they roll and she is on her back with the cricket on top of her, but that is just fine, as in this position the cricket is helpless, its powerful legs having no ground to purchase. Hogna lenta stays in this position for nearly 10 seconds allowing her venom to take effect before flipping over in an instance to dine at her leisure.
The bus ride from Shenzhen to Enping was long, like watching a freight train chug by, except it doesn't. We had to have been on that bus for seven hours, sometimes napping, and at times, staring out our windows, looking at a world standing still. Traffic was not only a nightmare, but also a mystery, for as many instances in which we could plainly see another egregiously bad vehicular accident, that which has become commonplace, ubiquitous in Chinese travel culture, there were other inexplicable stops in movement, when all of a sudden, as though finishing a swift countdown, our speed dropped so precipitously as to let out a collective lurch, if not in body, then definitely in mind. Calvin, thankfully, in his perspicacity, in his wide-angled, unique view of things, saw beyond the myriad vehicles which lay unmoving as if rocks on a dry riverbed; view the periphery, he bade us, and when we looked to the edges of the road, indeed we witnessed the most peculiar instigator of traffic congestion in the world - men en masse pissing on the side of the road! Men taking leaks creates a domino effect; that one sees another enjoying the relief of an unburdened, easy bladder, so seductive a yoke, that the only retort to the entreaty of this blissful state is to join in with abandon, and impunity. And so soon as the last few shakes are made, back into the cars do these men go, and a few hasty minutes later, traffic flows again!
Mike wanted to stop at a village, so we exchanged an increasingly crowded highway for a narrow, cement road, on which we ventured into the dense verdure. Having reached an impasse in the road soon thereafter, and not knowing how to advance further, to actually enter the village proper, we saw two lovely young ladies saddling a moped, motoring towards us. They then suddenly broke, and turned off our path and onto a dirt one which squeezed through two homes as though a mouse through its diminutive hole - that was our key. We greeted them as the girls turned their heads, offering us inquisitive, yet gentle looks. They would be our guides into town.
Blue showed me around her neighborhood. Together we walked along bumpy corridors and peered through open windows, beyond flitting cobwebs, to lay eyes on rooms where nowadays only impenetrable shadows repose. She and I examined the perfunctory red banners which framed each door in the village, and subsequently hit it off when I began inquiring into the nature of those two swarthy demons who hung menacingly before the closed doors, their gazes insidiously wild, drunk with rage, perhaps. Indeed later, in the quietude of a sunset raining down on us, while standing by ourselves in front of the village hall, I finally shared my faith with her, and in return she declared the lack of her own - her cousin and older sister, however, do know Jesus, she said, which verily warmed my heart, if not hers.
We left the village with much rapidity, but not before I blessed and encouraged Blue's cousin, in whose arms a smiling babe lay, and received joyfully a delectable departing gift: mysterious, "Blue Cookies" (the official Chinese name is 艾糍), whose mottled, homely complexion would disgust if not for the sweetness (an amalgam of sugar, peanuts and herbs) buried inside, a treasure which would be discovered again and again on our tour.
The food around Enping epitomizes, I believe, Guangdong cuisine: inexpensive and egregiously non-spicy. For what they lack in price and incendiary acidity, however, these dishes more than compensate with copious amounts of oil, salt and sugar, mixed together for a tantalizing effect on the taste buds. Our group was fortunate enough to have frequented several Guangdong-style dai pai dongs whose victuals both nourished our bodies and replenished our wallets - it's amazing to consider how $250RMB can feed 15 ravenous, cantankerous-when-hungry Christian bikers. In fact, the feasting grew exponentially more enjoyable as journey progressed, as our two primary orderers began to refine their culinary acuity, accurately predicting what would invigorate and excite our collective palate; it helped, too, that our utensils were pretty clean for Chinese standards!
Our first evening, we secured accommodations in a building that was not so much a hotel, or even a motel, as a grey, dry concrete edifice in which hardwood beds were arrayed neatly in each room; the spartan conditions dismayed some, including myself, at first. However, thankfulness trumped peevishness, and the realization that, in the middle of nowhere, we had mosquito nets to ward off the inexorable squad of mozzies, and one bathroom with boiling water for a very, very scalding shower was more than enough to placate everyone, especially after a hard day of riding. Besides, austerity succors the soul. We even managed to sleep pretty soundly without mattresses. In my somnolent state, I only remember shifting desperately maybe six, or seven times. It was a good night, and a bargain at only 15RMB per person!
On the second day our group dared to test itself on an unknown avenue. Consequently, we were spared the sonorous alarms of gigantic, indomitable trucks and instead subjected ourselves to the vicissitudes of off-road biking, whose soundtrack, undoubtedly for the day, was provided by an orchestra of buzzing cicadas, accompanied, at times, by the rumbling tympani of motorbikes. Oh, the countryside was lush, beautiful verdure all around - a feast for the romantic soul. Yet, for one of my companions, the environment was anything but endearing, for her adeptness at handling the desultory trail, she surely felt, was more chaotic than controlled. She persevered, nonetheless, pushing through her disconsolation to conquer the race marked out for her; such tenacity that only the Father could supply; and that left me thoroughly impressed.
At lunchtime, the evangelization effort began in earnest. It started innocently enough, as I asked a group of girls about the secondary school down the dusty road from our restaurant. Then, on cue, the Spirit, whose pacing can only be described as frenetic, whose rhythm is beyond my comprehension, overwhelmed and took over. Leanne and I brought those three girls to Christ; while Tim was assiduously preaching by our side to a band of boys who had gathered to look on; and behind us, ah Cheung had cajoled five boys to form a circle, hand in hand, for prayer. Many people came to know Jesus that hour. There was undoubtedly some serious fire falling down on us!
We made a pit stop at the Tam clan village. It was another bucolic community, replete with idling boys, young and old, and those two duplicitous demons standing watch from steady doors, which, it appeared, held together together the ramshackle walls beside them. An electricity meter evinced the reality of life in the village, of a living community that flows flittingly in and out of the houses as though cats leaping over canals; because I for one couldn't see how hundreds of people somehow resided inside those homes when I couldn't spot a single one during my brief tour of the grounds. In the open, by our bikes, there were conspicuous signs of life, however. I was standing in the sun, letting its warm rays melt on my skin, when a young man, not even twenty, approached and asked me about our intents and purposes on what was once such a dull afternoon. His curiosity got the better of me, and together we broached a conversation in faith. Simon joined us, and although he whom I named Henry, told us in his obstinacy that he depends on himself alone, I feel as though a small seed of faith was still planted within him. May it bloom at the appointed time when he most needs it.
At last, inside the unlit store where we shared our gleaming hopes and fantastic dreams, Simon and I noticed, to our surprise and delight, two blackboards on which the shopkeeper had written the alphabet, for English as well as for Putonghua (Pinyin). Besides the letters, numbers too had been painstakingly etched into the board, each meticulous stroke perfectly formed. So they ironically were learning that which continues to elude their more economically mobile brethren in Hong Kong, despite their most humble upbringing. I encouraged Henry to pursue this knowledge, since, as the cliche most rightly states, English - and Putonghua, these days - opens up a world of opportunity.
China, it seems to me, is one interminable housing start being carried on the shoulders of giants. Behemoths, really, an armada of green and blue dump trucks, on whose backs are the physical manifestation of the hopes and dreams of billions - timber; stone; and coal - were an inescapable part of our three-day trek. They blew passed us, literally, horns afire; and if you stared into the eyes of the drivers high above on those mechanized elephants, you would see the glee with which they pounded both the road and the eardrums of those unwitting peons foolish enough to be nearby. China - and China Mobile, whose stores we uncovered even in the most remote suburb, might I add! - still has much growth left, and the transportation and infrastructure industries, I'm sure, shall assiduously work to keep it that way. My recommendation: keep investing in China.
Visiting the hot springs had been on our agenda since the inception of the trip. We eventually had our chance the second evening, when we raced down a wending hill to our hotel - a real hotel. Our excitement reverberated in the air, crackling with laughter and shouting. Choosing to swim first and foremost, we left dinner to wait and hurried across the street. The resort was packed with other like-minded people, dressed in swimming costumes that should have left more to the imagination; the temperature of the pool water varied, from tepid in one enclosure to skin-searing in another; and for one marvelous hour, we swam and frolicked like little children again, delighting in some wet fun, a suitable reward for one more arduous day spent on the dusty, dry land.
We capped the end of a successful day with a bang. The girls, oddly enough, were furtive pyromaniacs in our midst, longing in secret to raid the fireworks shop at the base of the hotel. So after our meal, they raced into the cool evening air and we could only endeavor to follow them in their explosive folly. Inside the store, all sorts of bombastic devices were on display, from the unwieldy, block of (Chicago) bull to the sleek spears adorning the wall whose warheads, no doubt, could just so easily take out a few eyes as mercilessly rip the pitch black from the wall of night sky. The ladies suffered to leave no type of firework untouched by the flame, quickly purchasing an arsenal of rainbow-inducing rockets and slim sparklers to make any pyrotechnic maven proud. Outside we went. At length, the bombs burst in the air, and laughter abound so much as we watched the brilliance of Chinese engineering on display. With the girls' scintillating stock depleted, we finally collected ourselves, and headed upstairs for one more day of wonderment.
There was one last village to visit before we reached our final destination of Enping city. As we sped into the shanty community, we knew something was amiss because unlike our other entrances into villages, during which residents would emerge in droves to glimpse us, it seemed as though these villagers preferred the comfort of their own veiled homes to the company of a few, ebullient strangers. It was an ominous setting in which we found ourselves, one characterized by inhabitants rather mistrustful than gregarious, and affable. Nonetheless, we dispersed to share kindness and mercy. To that end, I approached a young lady, a mere 25-years old, who had her three-month old boy on her shoulder and her three-year old son - who was without pants, might I add, preferring to wave them in the air like a terrible towel - by her side. We spoke briefly about her hopes and dreams, which, she says, rest in the well-being of her sons; and then Leanne and I blessed her. That was the end of our village experience in China.
To be around people who sharpen you as iron sharpens iron, that verily is a joy. The villagers were simple, warm and welcoming; my teammates were jocular, presumptuous and faithful; and I, in the midst of this confluence, this mosaic of personalities, philosophies, hopes and dreams, could only seek to love, especially in one of my more pensive moments. The trip tested my patience and tolerance, my ability to accept others for who they are - each a flawed creature like myself. Ultimately, so much as we seek the men of peace everywhere we go, we individually must become men of peace too. A true disciple of Jesus runs that race, and appreciates His grace, which shall always be enough in this life.
Indian cuisine consists of a wide variety of regional and traditional cuisines native to the Indian subcontinent. Given the range of diversity in soil type, climate, culture, ethnic groups, and occupations, these cuisines vary substantially from each other and use locally available spices, herbs, vegetables, and fruits. Indian food is also heavily influenced by religion, in particular Hindu, cultural choices and traditions. The cuisine is also influenced by centuries of Islamic rule, particularly the Mughal rule. Samosas and pilafs can be regarded as examples.
Historical events such as foreign invasions, trade relations, and colonialism have played a role in introducing certain foods to this country. For instance, potato, a staple of the diet in some regions of India, was brought to India by the Portuguese, who also introduced chillies and breadfruit. Indian cuisine has shaped the history of international relations; the spice trade between India and Europe was the primary catalyst for Europe's Age of Discovery. Spices were bought from India and traded around Europe and Asia. Indian cuisine has influenced other cuisines across the world, especially those from Europe, the Middle East, North Africa, sub-Saharan Africa, Southeast Asia, the British Isles, Fiji, and the Caribbean.
HISTORY
Indian cuisine reflects an 8,000-year history of various groups and cultures interacting with the Indian subcontinent, leading to diversity of flavours and regional cuisines found in modern-day India. Later, trade with British and Portuguese influence added to the already diverse Indian cuisine.
ANTIQUITY
Early diet in India mainly consisted of legumes, vegetables, fruits, grains, dairy products, and honey. Staple foods eaten today include a variety of lentils (dal), whole-wheat flour (aṭṭa), rice, and pearl millet (bājra), which has been cultivated in the Indian subcontinent since 6200 BCE. Over time, segments of the population embraced vegetarianism during the Śramaṇa movement while an equitable climate permitted a variety of fruits, vegetables, and grains to be grown throughout the year. A food classification system that categorised any item as saatvic, raajsic, or taamsic developed in Yoga tradition. The Bhagavad Gita proscribes certain dietary practices (chapter 17, verses 8–10). Consumption of beef is taboo, due to cows being considered sacred in Hinduism. Beef is generally not eaten by Hindus in India except for Kerala, parts of southern Tamil Nadu and the north east.
FOODS MENTIONED IN ANCIENT INDIAN SCRIPTURE
While many Ancient Indian recipes have been lost one can look at ancient texts to see what was eaten in Ancient and pre historic India.
Rice
Rice Cake
Curd
Sugar
Ghee
Cashew nut
Bread Fruit
Pomegranate
Mango
Rose Apple
Sweet Potato
Barley
Mustard
Figs
Betel Leaves
Honey
Salt
Saffron
Sesame Oil
Grape Wine
Turmeric
MIDDLED AGES TO THE 16TH CENTURIES
During the Middle Ages, several Indian dynasties were predominant, including the Gupta dynasty. Travel to India during this time introduced new cooking methods and products to the region, including tea. India was later invaded by tribes from Central Asian cultures, which led to the emergence of Mughlai cuisine, a mix of Indian and Central Asian cuisine. Hallmarks include seasonings such as saffron.
INGREDIENTS
Staple foods of Indian cuisine include pearl millet (bājra), rice, whole-wheat flour (aṭṭa), and a variety of lentils, such as masoor (most often red lentils), tuer (pigeon peas), urad (black gram), and moong (mung beans). Lentils may be used whole, dehusked - for example, dhuli moong or dhuli urad - or split. Split lentils, or dal, are used extensively. Some pulses, such as channa or cholae (chickpeas), rajma (kidney beans), and lobiya (black-eyed peas) are very common, especially in the northern regions. Channa and moong are also processed into flour (besan). Many Indian dishes are cooked in vegetable oil, but peanut oil is popular in northern and western India, mustard oil in eastern India, and coconut oil along the western coast, especially in Kerala and parts of southern Tamil Nadu. Gingelly (sesame) oil is common in the south since it imparts a fragrant, nutty aroma. In recent decades, sunflower, safflower, cottonseed, and soybean oils have become popular across India. Hydrogenated vegetable oil, known as Vanaspati ghee, is another popular cooking medium. Butter-based ghee, or deshi ghee, is used frequently, though less than in the past. Many types of meat are used for Indian cooking, but chicken and mutton tend to be the most commonly consumed meats. Fish and beef consumption are prevalent in some parts of India, but they are not widely consumed except for coastal areas, as well as the north east.The most important and frequently used spices and flavourings in Indian cuisine are whole or powdered chilli pepper (mirch, introduced by the Portuguese from Mexico in the 16th century), black mustard seed (sarso), cardamom (elaichi), cumin (jeera), turmeric (haldi), asafoetida (hing), ginger (adrak), coriander (dhania), and garlic (lasoon). One popular spice mix is garam masala, a powder that typically includes seven dried spices in a particular ratio, including black cardamom, cinnamon (dalchini), clove (laung), cumin (jeera), black peppercorns, coriander seeds and anise star. Each culinary region has a distinctive garam masala blend - individual chefs may also have their own. Goda masala is a comparable, though sweet, spice mix popular in Maharashtra. Some leaves commonly used for flavouring include bay leaves (tejpat), coriander leaves, fenugreek leaves, and mint leaves. The use of curry leaves and roots for flavouring is typical of Gujarati and South Indian cuisine. Sweet dishes are often seasoned with cardamom, saffron, nutmeg, and rose petal essences.
REGIONAL CUISINES
Cuisine differs across India's diverse regions as a result of variation in local culture, geographical location (proximity to sea, desert, or mountains), and economics. It also varies seasonally, depending on which fruits and vegetables are ripe.
ANDAMAN AND NICOBAR ISLAND
Seafood plays a major role in the cuisine of the Andaman and Nicobar Islands. Staples of the diet of the Indigenous Andamanese traditionally included roots, honey, fruits, meat, and fish, which were obtained by hunting and gathering. Some insects were also eaten as delicacies. Immigration from mainland of India, however, has resulted in variations in the cuisine.
ANDHRA PRADESH
The cuisine of Andhra Pradesh belongs to the two Telugu-speaking regions of Rayalaseema and Coastal Andhra and is part of Telugu cuisine. The food of Andhra Pradesh is known for its heavy use of spices, and the use of tamarind. Seafood is common in the coastal region of the state. Rice is the staple food (as is with all South Indian states) eaten with lentil preparations such as pappu (lentils) and pulusu (stew) and spicy vegetables or curries. In Andhra, leafy greens or vegetables such as bottle-gourd and eggplant are usually added to dal. Pickles are an essential part of the local cuisine; popular among those are mango-based pickles such as avakaya and maagaya, gongura (a pickle made from Kenaf leaves), usirikaya (gooseberry or amla), nimmakaya (lime), and tomato pickle. Dahi (yogurt) is a common addition to meals, as a way of tempering spiciness. Breakfast items include dosa, pesarattu (mung bean dosa), vada, and idli.
ARUNACHAL PRADESH
The staple food of Arunachal Pradesh is rice, along with fish, meat, and leaf vegetables. Many varieties of rice are used. Lettuce is the most common vegetable, usually prepared by boiling with ginger, coriander, and green chillies. Boiled rice cakes wrapped in leaves are a popular snack. Thukpa is a kind of noodle soup common among the Monpa tribe of the region. Native tribes of Arunachal are meat eaters and use fish, eggs, beef, chicken, pork, and mutton to make their dishes. Apong or rice beer made from fermented rice or millet is a popular beverage in Arunachal Pradesh and is consumed as a refreshing drink.
ASSAM
Assamese cuisine is a mixture of different indigenous styles, with considerable regional variation and some external influences. Although it is known for its limited use of spices, Assamese cuisine has strong flavours from its use of endemic herbs, fruits, and vegetables served fresh, dried, or fermented. Rice is the staple food item and a huge variety of endemic rice varieties, including several varieties of sticky rice are a part of the cuisine in Assam. Fish, generally freshwater varieties, are widely eaten. Other nonvegetarian items include chicken, duck, squab, snails, silkworms, insects, goat, pork, venison, turtle, monitor lizard, etc. The region's cuisine involves simple cooking processes, mostly barbecuing, steaming, or boiling. Bhuna, the gentle frying of spices before the addition of the main ingredients, generally common in Indian cooking, is absent in the cuisine of Assam. A traditional meal in Assam begins with a khar, a class of dishes named after the main ingredient and ends with a tenga, a sour dish. Homebrewed rice beer or rice wine is served before a meal. The food is usually served in bell metal utensils. Paan, the practice of chewing betel nut, generally concludes a meal.
BIHAR
Bihari cuisine may include litti chokha, a baked salted wheat-flour cake filled with sattu (baked chickpea flour) and some special spices, which is served with baigan bharta, made of roasted eggplant (brinjal) and tomatoes. Among meat dishes, meat saalan is a popular dish made of mutton or goat curry with cubed potatoes in garam masala. Dalpuri is another popular dish in Bihar. It is salted wheat-flour bread, filled with boiled, crushed, and fried gram pulses. Malpua is a popular sweet dish of Bihar, prepared by a mixture of maida, milk, bananas, cashew nuts, peanuts, raisins, sugar, water, and green cardamom. Another notable sweet dish of Bihar is balushahi, which is prepared by a specially treated combination of maida and sugar along with ghee, and the other worldwide famous sweet, khaja, also very popular, is made from flour, vegetable fat, and sugar, which is mainly used in weddings and other occasions. Silav near Nalanda is famous for its production. During the festival of Chhath, thekua, a sweet dish made of ghee, jaggery, and whole-meal flour, flavoured with aniseed, is made.
CHANDIGARH
Chandigarh, the capital of Punjab and Haryana is a city of 20th century origin with a cosmopolitan food culture mainly involving North Indian cuisine.
People enjoy home-made recipes such as parantha, especially at breakfast, and other Punjabi foods like roti which is made from wheat, corn, or other glutenous flour with cooked vegetables or beans. Sarson da saag and dal makhani are well-known dishes among others. Popular snacks include gol gappa (known as panipuri in other places). It consists of a round, hollow puri, fried crisp and filled with a mixture of flavoured water, boiled and cubed potatoes, bengal gram beans, etc.
CHHATTISGARH
Chhattisgarh cuisine is unique in nature and not found in the rest of India, although the staple food is rice, like in much of the country. Many Chhattisgarhi people drink liquor brewed from the mahuwa flower palm wine (tadi in rural areas). The tribal people of the Bastar region of Chhattisgarh eat ancestral dishes such as mushrooms, bamboo pickle, bamboo vegetables, etc.
DADRA AND NAGAR HAVELI
The local cuisine resembles the cuisine of Gujarat. Ubadiyu is a local delicacy made of vegetables and beans with herbs. The common foods include rice, roti, vegetables, river fish, and crab. People also enjoy buttermilk and chutney made of different fruits and herbs.
DAMAN AND DIU
Daman and Diu is a union territory of India which, like Goa, was a former colonial possession of Portugal. Consequently, both native Gujarati food and traditional Portuguese food are common. Being a coastal region, the communities are mainly dependent on seafood. Normally, rotli and tea are taken for breakfast, rotla and saak for lunch, and chokha along with saak and curry are taken for dinner. Some of the dishes prepared on festive occasions include puri, lapsee, potaya, dudh-plag, and dhakanu. While alcohol is prohibited in the neighbouring state of Gujarat, drinking is common in Daman and Diu. Better known as the “pub” of Gujarat. All popular brands of alcohol are readily available.
DELHI
Delhi was once the capital of the Mughal empire, and it became the birthplace of Mughlai cuisine. Delhi is noted for its street food. The Paranthewali Gali in Chandani Chowk is just one of the culinary landmarks for stuffed flatbread (paranthas). Delhi has people from different parts of India, thus the city has different types of food traditions; its cuisine is influenced by the various cultures. Punjabi cuisine is common, due to the dominance of Punjabi communities. Delhi cuisine is actually an amalgam of different Indian cuisines modified in unique ways. This is apparent in the different types of street food available. Kababs, kachauri, chaat, Indian sweets, Indian ice cream (commonly called kulfi), and even western food items like sandwiches and patties, are prepared in a style unique to Delhi and are quite popular.
GOA
The area has a tropical climate, which means the spices and flavours are intense. Use of kokum is a distinct feature of the region's cuisine. Goan cuisine is mostly seafood and meat-based; the staple foods are rice and fish. Kingfish (vison or visvan) is the most common delicacy, and others include pomfret, shark, tuna, and mackerel; these are often served with coconut milk. Shellfish, including crabs, prawns, tiger prawns, lobster, squid, and mussels, are commonly eaten. The cuisine of Goa is influenced by its Hindu origins, 400 years of Portuguese colonialism, and modern techniques. Bread, introduced by the Portuguese, is very popular, and is an important part of goan breakfast. Frequent tourism in the area gives Goan food an international aspect. Vegetarianism is equally popular.[
GUJARAT
Gujarati cuisine is primarily vegetarian. The typical Gujarati thali consists of roti (rotlii in Gujarati), daal or kadhi, rice, sabzi/shaak, papad and chaas (buttermilk). The sabzi is a dish of different combinations of vegetables and spices which may be stir fried, spicy or sweet. Gujarati cuisine can vary widely in flavour and heat based on personal and regional tastes. North Gujarat, Kathiawad, Kachchh, and South Gujarat are the four major regions of Gujarati cuisine. Many Gujarati dishes are simultaneously sweet, salty (like vegetable Handvo), and spicy. In mango season, keri no ras (fresh mango pulp) is often an integral part of the meal. Spices also vary seasonally. For example, garam masala is used much less in summer. Few of Gujarati Snacks like Sev Khamani, Khakhra, Dal Vada, Methi na Bhajiya, Khaman, Bhakharwadi etc. Regular fasting, with diets limited to milk, dried fruit, and nuts, is a common practice.
HARYANA
Cattle being common in Haryana, dairy products are a common component of its cuisine. Specific dishes include kadhi, pakora, besan masala roti, bajra aloo roti, churma, kheer, bathua raita, methi gajar, singri ki sabzi, and tamatar chutney. In the olden days, its staple diet included, bajra khichdi, rabdi, onion chutney, milet roti and bajra roti. In the non-veg cuisine it includes kukad kadhai and masala gravy chicken. Lassi, sharbat, nimbu pani and "labsi(which is a mixture of bajra flour and lassi) are three popular nonalcoholic beverages in Haryana. Liquor stores are common there, which cater to a large number of truck drivers.
HIMACHAL PRADESH
The daily diet of Himachal people is similar to that of the rest of North India, including lentils, broth, rice, vegetables, and bread, although nonvegetarian cuisine is preferred. Some of the specialities of Himachal include sidu, patande, chukh, rajmah, and til chutney.
JAMMU AND KASHMIR
The cuisine of Jammu and Kashmir is from three regions of the state: Jammu, Kashmir, and Ladakh. Kashmiri cuisine has evolved over hundreds of years. Its first major influence was the food of the Kashmiri Hindus and Buddhists. The cuisine was later influenced by the cultures which arrived with the invasion of Kashmir by Timur from the area of modern Uzbekistan. Subsequent influences have included the cuisines of Central Asia and the North Indian plains. The most notable ingredient in Kashmiri cuisine is mutton, of which over 30 varieties are known. Wazwan is a multicourse meal in the Kashmiri tradition, the preparation of which is considered an art.
Kashmiri Pandit food is elaborate, and an important part of the Pandits' ethnic identity. Kashmiri Pandit cuisine usually uses dahi (yogurt), oil, and spices such as turmeric, red chilli, cumin, ginger, and fennel, though they do not use onion and garlic. Also, birayanis are quite popular here. They are the speciality of Kashmir.
The Jammu region is famous for its Sund Panjeeri, Patisa, Rajma ( Kidney Beans) with rice and Kalari cheese. Dogri food includes ambal (sour pumpkin dish), khatta meat, Kulthein (Macrotyloma uniflorum) di dal, dal chawal, maa da madra and Uriya. Many types of pickles are made including mango, kasrod, and girgle. Street food is also famous which include various types of chaats, specially Gol Gappas, Gulgule, Chole Bhature, Rajma Kulcha and Dahi Bhalla.
JHARKHAND
Staple food in Jharkhand are rice, dal and vegetable. Famous dishes include Chirka roti, Pittha, Malpua, Dhuska, Arsa roti and Litti Chokha. Local alcoholic drinks include Handia a rice beer and Mahua daru, made from flowers of the "Mahua" tree (Madhuca longifolia).
KARNATAKA
A number of dishes, such as idli, rava idli, Mysore masala dosa, etc. were invented here and have become popular beyond the state of Karnataka. Equally, varieties in the cuisine of Karnataka have similarities with its three neighbouring South Indian states, as well as the states of Maharashtra and Goa to its north. It is very common for the food to be served on a banana leaf, especially during festivals and functions.
Karnataka cuisine can be very broadly divided into: 1) Mysore/Bangalore cuisine, 2) North Karnataka cuisine, 3) Udupi cuisine, 4) Kodagu/Coorg cuisine, and 5) Karavali/coastal cuisine. The cuisine covers a wide spectrum of food from pure vegetarian and vegan to meats like pork, and from savouries to sweets. Typical dishes include bisi bele bath, jolada rotti, badanekai yennegai, Holige, Kadubu, chapati, idli vada, ragi rotti, akki rotti, saaru, huli, kootu, vangibath, khara bath, kesari bhath, sajjige, neer dosa, mysoore, haal bai, chiroti, benne dose, ragi mudde, and uppittu.
The Kodagu district is known for spicy pork curries, while coastal Karnataka specialises in seafood. Although the ingredients differ regionally, a typical Kannadiga oota (Kannadiga meal) is served on a banana leaf. The coastal districts of Dakshina Kannada and Udupi have slightly varying cuisines, which make extensive use of coconut in curries and frequently include seafood.
KERALA
Traditional food of Kerala Hindus is vegetarian[citation needed], with regional exceptions such as the food of the Malabar area. It includes Kerala sadhya, which is an elaborate vegetarian banquet prepared for festivals and ceremonies. Contemporary Kerala food also includes nonvegetarian dishes. A full-course sadya, which consists of rice with about 20 different accompaniments and desserts is the ceremonial meal, eaten usually on celebrations such as marriages, Onam, Vishu, etc. and is served on a plantain leaf.
Fish and seafood play a major role in Kerala cuisine, as Kerala is a coastal state. An everyday Kerala meal in most households consists of rice with fish curry made of sardines, mackerel, seer fish, king fish, pomfret, prawns, shrimp, sole, anchovy, parrotfish, etc. (mussels, oysters, crabs, squid, scallops etc. are not rare), vegetable curry and stir-fried vegetables with or without coconut traditionally known as thoran or mizhukkupiratti. As Kerala has large inland water bodies, freshwater fish are abundant, and constitute regular meals.
It is common in Kerala to have a breakfast with nonvegetarian dishes in restaurants, in contrast to other states in India. Chicken/mutton stews, lamb/chicken/beef/pork/egg curry, fish curry with tapioca for breakfast are common. A wide range of breakfast with non-vegetarian is common in Malabar and in Central Kerala.
Kerala cuisine reflects its rich trading heritage. Over time, various cuisines have blended with indigenous dishes, while foreign ones have been adapted to local tastes. Significant Arab, Syrian, Portuguese, Dutch, Jewish, and Middle Eastern influences exist in this region's cuisine, through ancient trade routes via the Arabian Sea and through Arab traders who settled here, contributed to the evolution of kozhikodan halwa along with other dishes like Thalassery biryani.
Coconuts grow in abundance in Kerala, so grated coconut and coconut milk are commonly used for thickening and flavouring. Kerala's long coastline and numerous rivers have led to a strong fishing industry in the region, making seafood a common part of the meal. Rice is grown in abundance, along with tapioca. It is the main starch ingredient used in Kerala's food.
Having been a major production area of spices for thousands of years, the region makes frequent use of black pepper, cardamom, clove, ginger, and cinnamon. Most of Kerala's Hindus, except its Brahmin community, eat fish, chicken, beef, pork, eggs, and mutton. The Brahmin is famed for its vegan cuisine, especially varieties of sambar and rasam. A thick vegetable stew popular in South and Central India called avial is believed to have originated in southern Kerala. Avial is a widely eaten vegetarian dish in the state and plays a major role in sadya.
In most Kerala households, a typical meal consists of rice and vegetables. Kerala also has a variety of breakfast dishes like idli, dosa, appam, idiyappam, puttu, and pathiri. The Muslim community of Kerala blend Arabian, North Indian, and indigenous Malabari cuisines, using chicken, eggs, beef, and mutton. Thalassery biryani is the only biryani variant, which is of Kerala origin having originated in Talassery, in Malabar region. The dish is significantly different from other biryani variants.
The Pathanamthitta region is known for raalan and fish curries. Appam along with wine and curries of cured beef and pork are popular among Syrian Christians in Central Kerala.
Popular desserts are payasam and halwa. The Hindu community's payasams, especially those made at temples, like the Ambalappuzha temple, are famous for their rich taste. Halva is one of the most commonly found or easily recognised sweets in bakeries throughout Kerala, and Kozhikode is famous for its unique and exotic haluva, which is popularly known as Kozhikodan haluva. Europeans used to call the dish "sweetmeat" due to its texture, and a street in Kozhikode where became named Sweet Meat Street during colonial rule. Kozhikodan haluva is mostly made from maida (highly refined wheat), and comes in various flavours, such as banana, ghee or coconut. However, karutha haluva (black haluva) made from rice is also very popular. Many Muslim families in the region are famed for their traditional karutha haluva.
LAKSHADWEEP
The cuisine of Lakshadweep prominently features seafood and coconut. Local food consists of spicy nonvegetarian and vegetarian dishes. The culinary influence of Kerala is quite evident in the cuisines of Lakshadweep, since the island lies in close proximity to Kerala. Coconut and sea fish serve as the foundations of most of the meals. The people of Lakshadweep drink large amounts of coconut water, which is the most abundant aerated drink on the island. Coconut milk is the base for most of the curries. All the sweet or savory dishes have a touch of famous Malabar spices. Local people also prefer to have dosa, idlis, and various rice dishes.
MAGHYA PRADESH
The cuisine in Madhya Pradesh varies regionally. Wheat and meat are common in the north and west of the state, while the wetter south and east are dominated by rice and fish. Milk is a common ingredient in Gwalior and Indore. The street food of Indore is renowned, with shops that have been active for generations. Bhopal is known for meat and fish dishes such as rogan josh, korma, qeema, biryani, pilaf, and kebabs. On a street named Chatori Gali in old Bhopal, one can find traditional Muslim nonvegetarian fare such as paya soup, bun kabab, and nalli-nihari as some of the specialties.
Dal bafla is a common meal in the region and can be easily found in Indore and other nearby regions, consisting of a steamed and grilled wheat cake dunked in rich ghee, which is eaten with daal and ladoos. The culinary specialty of the Malwa and Indore regions of central Madhya Pradesh is poha (flattened rice); usually eaten at breakfast with jalebi. Beverages in the region include lassi, beer, rum and sugarcane juice. A local liquor is distilled from the flowers of the mahua tree. Date palm toddy is also popular. In tribal regions, a popular drink is the sap of the sulfi tree, which may be alcoholic if it has fermented.
MAHARASHTRA
Maharashtrian cuisine is an extensive balance of many different tastes. It includes a range of dishes from mild to very spicy tastes. Bajri, wheat, rice, jowar, vegetables, lentils, and fruit form important components of the Maharashtrian diet. Popular dishes include puran poli, ukdiche modak, batata wada, sabudana khichdi, masala bhat, pav bhaji, and wada pav. Poha or flattened rice is also usually eaten at breakfast. Kanda poha and aloo poha are some of the dishes cooked for breakfast and snacking in evenings. Popular spicy meat dishes include those that originated in the Kolhapur region. These are the Kolhapuri Sukka mutton, pandhra rassa, and tabmda rassa. Shrikhand, a sweet dish made from strained yogurt, is a main dessert of Maharashtrian cuisine. The cuisine of Maharashtra can be divided into two major sections—the coastal and the interior. The Konkan, on the coast of the Arabian Sea, has its own type of cuisine, a homogeneous combination of Malvani, Goud Saraswat Brahmin, and Goan cuisine. In the interior of Maharashtra, the Paschim Maharashtra, Khandesh, Vidarbha and Marathwada areas have their own distinct cuisines. The cuisine of Vidarbha uses groundnuts, poppy seeds, jaggery, wheat, jowar, and bajra extensively. A typical meal consists of rice, roti, poli, or bhakar, along with varan and aamtee - lentils and spiced vegetables. Cooking is common with different types of oil. Savji food from Vidarbha is well known all over Maharashtra. Savji dishes are very spicy and oily. Savji mutton curries are very famous.
POHA - A POPULAR MAHARASHTRIAN BREAKFAST DISH
Like other coastal states, an enormous variety of vegetables, fish, and coconuts exists, where they are common ingredients. Peanuts and cashews are often served with vegetables. Grated coconuts are used to flavour many types of dishes, but coconut oil is not widely used; peanut oil is preferred. Kokum, most commonly served chilled, in an appetiser-digestive called sol kadhi, is prevalent. During summer, Maharashtrians consume panha, a drink made from raw mango.
MALWANI
Malwani cuisine is a specialty of the tropical area which spans from the shore of Deogad Malwan to the southern Maharashtrian border with Goa. The unique taste and flavor of Malwani cuisine comes from Malwani masala and use of coconut and kokam. The staple foods are rice and fish. Various kinds of red and green fish, prawns, crab, and shellfish curries (also called mashacha sar in the Malwani language) are well known, along with kombadi (chicken) wade and mutton prepared Malwani style. Mohari mutton is also one of the distinct delicacies of Malwani cuisine.
A large variety of fish is available in the region, which include surmai, karali, bangada, bombil(Bombay duck), paplet (pompret), halwa, tarali, suandale, kolambi (prawns), tisari (shell fish), kalwa (stone fish) and kurli (crab).
All these fish are available in dried form, including prawns, which are known as sode. Local curries and chatanis are also prepared with dried fish.
Different types of rice breads and pancakes add to the variety of Malwani cuisine and include tandlachi bhakari, ghawane, amboli, patole, appe, tandalachi and shavai (rice noodles). These rice breads can be eaten specially flavored with coconut milk, fish curries, and chicken or mutton curries.
Sole kadi made from kokam and coconut milk is a signature appetizer drink . For vegetarians, Malwani delicacies include alloochi bhaji, alloochi gathaya, kalaya watanyacha, and sambara(black gram stew).
The sweets and desserts include ukadiche modak, Malawani khaje, khadakahde kundiche ladu, shegdanyache ladu, tandalchi kheer, and tandalachi shavai ani ras (specially flavored with coconut milk).
MANIPUR
Manipuri cuisine is represented by the cuisine of the Meitei people who form the majority population in the central plain. Meitei food are simple, tasty, organic and healthy. Rice with local seasonal vegetables and fish form the main diet. Most of the dishes are cooked like vegetable stew, flavored with either fermented fish called ngari, or dried and smoked fish. The most popular manipuri dish is the Eromba; it's a preparation of boiled and mashed vegetables, often including potatoes or beans, mixed with chilli and roasted fermented fish. Another popular dish is the savory cake called Paknam, made of a base of lentil flour stuffed with various ingredients such as banana inflorescence, mushrooms, fish, vegetables etc., and baked covered in turmeric leaves. Along with spicy dishes, a mild side dish of steamed or boiled sweet vegetables are often served in the daily meals. The manipuri salad dish called singju, made of finely julienned cabbage, green papaya, and other vegetables, and garnished with local herbs, toasted sesame powder and lentil flour is extremely popular locally, and often found sold in small street side vendors. Singju is often served with bora which are fritters of various kinds, and also kanghou, or oil fried spicy veggies. Cooked and fermented soybean is a popular condiment in all manipuri kitchens. The staple diet of Manipur consists of rice, fish, large varieties of leafy vegetables (of both aquatic and terrestrial). Manipuris typically raise vegetables in a kitchen garden and rear fishes in small ponds around their house. Since the vegetables are either grown at home or obtained from local market, the cuisines are very seasonal, each season having its own special vegetables and preparations. The taste is very different from mainland Indian cuisines because of the use of various aromatic herbs and roots that are peculiar to the region. They are however very similar to the cuisines of Southeast/East/Central Asia, Siberia, Micronesia and Polynesia.
MEGHALAYA
Meghalayan cuisine is unique and different from other Northeastern Indian states. Spiced meat is common, from goats, pigs, fowl, ducks, chickens, and cows. In the Khasi and Jaintia Hills districts, common foods include jadoh, ki kpu, tung-rymbai, and pickled bamboo shoots. Other common foods in Meghalaya include minil songa (steamed sticky rice), sakkin gata, and momo dumplings. Like other tribes in the northeast, the Garos ferment rice beer, which they consume in religious rites and secular celebrations.
MIZORAM
The cuisine of Mizoram differs from that of most of India, though it shares characteristics to other regions of Northeast India and North India. Rice is the staple food of Mizoram, while Mizos love to add non-vegetarian ingredients in every dish. Fish, chicken, pork and beef are popular meats among Mizos. Dishes are served on fresh banana leaves. Most of the dishes are cooked in mustard oil. Meals tend to be less spicy than in most of India. Mizos love eating boiled vegetables along with rice. A popular dish is bai, made from boiling vegetables (spinach, eggplant, beans, and other leafy vegetables) with bekang fermented soya beans or Sa-um, a fermented pork and served with rice. Sawhchiar is another common dish, made of rice and cooked with pork or chicken.
NAGALAND
The cuisine of Nagaland reflects that of the Naga people. It is known for exotic pork meats cooked with simple and flavourful ingredients, like the extremely hot Bhut jolokia pepper, fermented bamboo shoots and akhuni or fermented soya beans. Another unique and strong ingredient used by the Naga people, is the fermented fish known as ngari. Fresh herbs and other local greens also feature prominently in the Naga cuisine. The Naga use oil sparingly, preferring to ferment, dry, and smoke their meats and fish. Traditional homes in Nagaland have external kitchens that serve as smokehouses.
A typical meal consists of rice, meat, a chutney, a couple of stewed or steamed vegetable dishes – flavored with ngari or akhuni. Desserts usually consist of fresh fruits.
ODISHA
The cuisine of Odisha relies heavily on local ingredients. Flavours are usually subtle and delicately spiced, unlike the spicy curries typically associated with Indian cuisine. Fish and other seafood, such as crab and shrimp, are very popular, and chicken and mutton are also consumed. Panch phutana, a mix of cumin, mustard, fennel, fenugreek and kalonji (nigella), is widely used for flavouring vegetables and dals, while garam masala and turmeric are commonly used for meat-based curries. Pakhala, a dish made of rice, water, and dahi (yogurt), that is fermented overnight, is very popular in summer in rural areas. Oriyas are very fond of sweets, so dessert follows most meals.
Few popular Oriya cuisines, Anna, Kanika, Dalma, Khata (Tamato & Oou), Dali (Different types of lentils, i.e. Harada (Red Gram), known as Arhar in Hindi), Muga (Moong), Kolatha (Horsegram), etc. And many more varieties both in Veg. (Niramisha) & Non-Veg. (Aamisha). Saga ( spinach and other green leaves) and Alu-bharta(mashed potato) along with Pakhala are popular dishes(lunch) in rural Odisha.
Odisha is well known for its milk-based sweets. Among the many Rasagula which originated in Odisha, Chhena poda, Chhena gaja, Chhena jhili, and Rasabali are very famous.
PUDUCHERRY
The union territory of Puducherry was a French colony for around 200 years, making French cuisine a strong influence on the area. Tamil cuisine is eaten by the territory's Tamil majority. The influence of the neighbouring areas, such as Andhra Pradesh and Kerala, is also visible on the territory's cuisine. Some favourite dishes include coconut curry, tandoori potato, soya dosa, podanlangkai, curried vegetables, stuffed cabbage, and baked beans.
PUNJAB
The cuisine of Punjab is known for its diverse range of dishes.The cuisine is closely related to the cuisine of the neighbouring Punjab province of Pakistan. The state, being an agriculture center, is abundant with whole grains, vegetables, and fruits. Home-cooked and restaurant Punjabi cuisine can vary significantly. Restaurant-style Punjabi cooking puts emphasis on creamy textured foods by using ghee, butter and cream while, home-cooked meals center around whole wheat, rice, and other ingredients flavored with various kinds of masalas. Common dishes cooked at home are roti with daal and dahi (yogurt) with a side chutney and salad that includes raw onion, tomato, cucumber, etc. The meals are also abundant of local and seasonal vegetables usually sautéed with spices such as cumin, dried coriander, red chili powder, turmeric, black cloves, etc. Masala Chai is a favorite drink and is consumed in everyday life and at special occasions. Many regional differences exist in the Punjabi cuisine based on traditional variations in cooking similar dishes, food combinations, preference of spice combination, etc. Is it apparent that "the food is simple, robust, and closely linked to the land." Certain dishes exclusive to Punjab, such as makki di roti and sarson da saag, dal makhani, etc. are a favorite of many. The masala in a Punjabi dish traditionally consists of onion, garlic, ginger, cumin, garam masala, salt, turmeric, tomatoes sauteed in mustard oil. Tandoori food is a Punjabi specialty. Common meat dishes in this region are Bhakra curry (Goat) and fish dishes Dairy products are commonly consumed and usually accompany main meals in the form of dahi, milk, and milk derived products such as lassi, paneer, etc. Punjab consists of a high number of people following the Sikh religion who traditionally follow a vegetarian diet (which includes plant derived foods, milk, and milk by-products. See diet in Sikhism) in accordance to their beliefs.
No description of Punjabi cuisine is complete without the myriad of famous desserts, such as kheer, gajar ka halwa, sooji (cream of wheat) halwa, rasmalai, gulab jamun and jalebi. Most desserts are ghee or dairy-based, use nuts such as almonds, walnuts, pistachios, cashews, and, raisins.
Many of the most popular elements of Anglo-Indian cuisine, such as tandoori foods, naan, pakoras and vegetable dishes with paneer, are derived from Punjabi styles. Punjabi food is well liked in the world for its flavors, spices, and, versatile use of produce; and hence it is one of the most popular cuisine's from the sub continent. And last but not least is the Chhole Bhature and Chhole Kulche which are famous all over the north India.
RAJASTHAN
Cooking in Rajasthan, an arid region, has been strongly shaped by the availability of ingredients. Food is generally cooked in milk or ghee, making it quite rich. Gram flour is a mainstay of Marwari food mainly due to the scarcity of vegetables in the area.
Historically, food that could last for several days and be eaten without heating was preferred. Major dishes of a Rajasthani meal may include daal-baati, tarfini, raabdi, Ghevar, bail-gatte, panchkoota, chaavadi, laapsi, kadhi and boondi. Typical snacks include bikaneri bhujia, mirchi bada, Pyaaj Kachori, and Dal Kachori.
Daal-baati is the most popular dish prepared in the state. It is usually supplemented with choorma, a mixture of finely ground baked rotis, sugar and ghee.
Rajasthan is also influenced by the Rajput community who have liking for meat dishes.Their diet consisted of game meat and gave birth to dishes like laal maas, safed maas, khad khargosh and jungli maas.
SIKKIM
In Sikkim, various ethnic groups such as the Nepalese, Bhutias, and Lepchas have their own distinct cuisines. Nepalese cuisine is very popular in this area. Rice is the staple food of the area, and meat and dairy products are also widely consumed. For centuries, traditional fermented foods and beverages have constituted about 20 percent of the local diet. Depending on altitudinal variation, finger millet, wheat, buckwheat, barley, vegetables, potatoes, and soybeans are grown. Dhindo, Daal bhat, Gundruk, Momo, gya thuk, ningro, phagshapa, and sel roti are some of the local dishes. Alcoholic drinks are consumed by both men and women. Beef is eaten by the Bhutias.
SINDH
Sindhi cuisine refers to the native cuisine of the Sindhi people from the Sindh region, now in Pakistan. While Sindh is not geographically a part of modern India, its culinary traditions persist, due to the sizeable number of Hindu Sindhis who migrated to India following the independence of Pakistan in 1947, especially in Sindhi enclaves such as Ulhasnagar and Gandhidam. A typical meal in most Sindhi households consists of wheat-based flatbread (phulka) and rice accompanied by two dishes, one with gravy and one dry. Lotus stem (known as kamal kakri) is also used in Sindhi dishes. Cooking vegetables by deep frying is a common practice that is followed. Some common Sindhi dishes are Sindhi Kadhi, Sai Bhaji, Koki and Besan Bhaji. Some common ingredients used are mango powder, tamarind, kokum flowers, and dried pomegranate seeds.
TAMIL NADU
Tamil Nadu is noted for its deep belief that serving food to others is a service to humanity, as is common in many regions of India. The region has a rich cuisine involving both traditional non-vegetarian and vegetarian dishes. Tamil food is characterised by its use of rice, legumes, and lentils, along with distinct aromas and flavours achieved by the blending of spices such as mustard, curry leaves, tamarind, coriander, ginger, garlic, chili pepper, cinnamon, clove, cardamom, cumin, nutmeg, coconut and rose water. The traditional way of eating a meal involves being seated on the floor, having the food served on a plantain leaf, and using the right hand to eat. After the meal the plantain leaf is discarded but becomes food for free-ranging cattle and goats. A meal (called Saapadu) consists of rice with other typical Tamil dishes on a plantain leaf. A typical Tamilian would eat on a plantain leaf as it is believed to give a different flavour and taste to food. Also growing in popularity are stainless steel trays – plates with a selection of different dishes in small bowls.
Tamil food is characterized by tiffin, which is a light food taken for breakfast or dinner, and meals which are usually taken during lunch. The word "curry" is derived from the Tamil kari, meaning something similar to "sauce". The southern regions such as Tirunelveli, Madurai, Paramakudi, Karaikudi, and Chettinad,Kongu Nadu are noted for their spicy non-vegetarian dishes. Dosa, idli, pongal and Biryani are some of the popular dishes that are eaten with chutney and sambar. Fish and other seafoods are also very popular, because the state is located on the coast. Chicken and goat meat are the predominantly consumed meats in Tamil Nadu.
Many Tamilians are vegetarian, however, and the typical meal is heavily dependent on rice, vegetables and lentil preparations such as rasam and sambar. There are further variations of Tamil vegetarian dishes. They have influenced Kerala as well in their Kootu, Arachi vitta sambhar and molagootals. As mentioned above, the Chettinad variety of food uses lots of strong spices, such as pepper, garlic, fennel seeds and onions. Tamil food tends to be spicy compared to other parts of India so there is a tradition of finishing the meal with dahi (yogurt) is considered a soothing end to the meal.
Notably, Tamil Brahmin cuisine, the food of the Iyers and Iyengar community, is characterized by slightly different meal times and meal structures compared to other communities within the state. Historically vegetarian, the cuisine is renown for its milder flavor and avoidance of onion and garlic (although this practice appears to be disappearing with time). After a light morning meal of filter coffee and different varieties of porridges (oatmeal and janata kanji are immensely popular), the main meal of the day, lunch/brunch is usually at 11 am and typically follows a two-three course meal structure. Steamed rice is the main dish, and is always accompanied by a seasonally steamed/sauteed vegetable (poriyal), and two or three types of tamarind stews, the most popular being sambhar and rasam. The meal typically ends with thair sadham (rice with yogurt), usually served with pickled mangoes or lemons. Tiffin is the second meal of the day and features several breakfast favorites such as idli, rava idli, upma, dosa varieties, vada and is usually accompanied by chai. Dinner is the simplest meal of the day, typically involving leftovers from either lunch or tiffin. Fresh seasonal fruit consumed in the state include bananas, papaya, honeydew and canteloupe melons, jackfruit, mangos, apples, kasturi oranges, pomegranates, and nongu (hearts of palm).
TELANGANA
The cuisine of Telangana consists of the Telugu cuisine, of Telangana's Telugu people as well as Hyderabadi cuisine (also known as Nizami cuisine), of Telangana's Hyderabadi Muslim community. Hyderabadi food is based heavily on non-vegetarian ingredients, while Telugu food is a mix of both vegetarian and non-vegetarian ingredients. Telugu food is rich in spices and chillies are abundantly used. The food also generally tends to be more on the tangy side with tamarind and lime juice both used liberally as souring agents. Rice is the staple food of Telugu people. Starch is consumed with a variety of curries and lentil soups or broths. Vegetarian and non-vegetarian foods are both popular. Hyderabadi cuisine includes popular delicacies such as Biryani, Haleem, Baghara baingan and Kheema, while Hyderabadi day to day dishes see some commonalities with Telanganite Telugu food, with its use of tamarind, rice, and lentils, along with meat. Dahi (yogurt) is a common addition to meals, as a way of tempering spiciness.
TRIPURA
The Tripuri people are the original inhabitants of the state of Tripura in northeast India. Today, they comprise the communities of Tipra, Reang, Jamatia, Noatia, and Uchoi, among others. The Tripuri are non-vegetarian, although they have a minority of Vaishnavite vegetarians. The major ingredients of Tripuri cuisine include vegetables, herbs, pork, chicken, mutton, fishes, turtle, shrimps, crabs, freshwater mussels, periwinkles, edible freshwater snails and frogs.
UTTAR PRADESH
Traditionally, Uttar Pradeshi cuisine consists of Awadhi and Mughlai cuisine, though a vast majority of the state is vegetarian, preferring dal, roti, sabzi, and rice. Pooris and kachoris are eaten on special occasions. Chaat, samosa, and pakora, among the most popular snacks in India, originate from Uttar Pradesh. Well known dishes include kebabs, dum biryani, and various mutton recipes. Sheer Qorma, Ghevar, Gulab jamun, Kheer, and Ras malai are some of the popular desserts in this region.
Awadhi cuisine (Hindi: अवधी खाना) is from the city of Lucknow, which is the capital of the state of Uttar Pradesh in Central-South Asia and Northern India, and the cooking patterns of the city are similar to those of Central Asia, the Middle East, and other parts of Northern India. The cuisine consists of both vegetarian and non-vegetarian dishes. Awadh has been greatly influenced by Mughal cooking techniques, and the cuisine of Lucknow bears similarities to those of Central Asia, Kashmir, Punjab and Hyderabad. The city is also known for its Nawabi foods. The bawarchis and rakabdars of Awadh gave birth to the dum style of cooking or the art of cooking over a slow fire, which has become synonymous with Lucknow today. Their spread consisted of elaborate dishes like kebabs, kormas, biryani, kaliya, nahari-kulchas, zarda, sheermal, roomali rotis, and warqi parathas. The richness of Awadh cuisine lies not only in the variety of cuisine but also in the ingredients used like mutton, paneer, and rich spices, including cardamom and saffron.
Mughlai cuisine is a style of cooking developed in the Indian subcontinent by the imperial kitchens of the Mughal Empire. It represents the cooking styles used in North India (especially Uttar Pradesh). The cuisine is strongly influenced by the Central Asian cuisine, the region where the Chagatai-Turkic Mughal rulers originally hailed from, and it has in turn strongly influenced the regional cuisines of Kashmir and the Punjab region. The tastes of Mughlai cuisine vary from extremely mild to spicy, and is often associated with a distinctive aroma and the taste of ground and whole spices. A Mughlai course is an elaborate buffet of main course dishes with a variety of accompaniments.
UTTARKHAND
The food from Uttrakhand is known to be healthy and wholesome to suit the high-energy necessities of the cold, mountainous region. It is a high protein diet that makes heavy use of pulses and vegetables. Traditionally it is cooked over wood or charcoal fire mostly in iron utensils. While also making use of condiments such as jeera, haldi and rai common in other Indian cuisines, Uttarakhand cuisine uses some exotic condiments like jambu, timmer, ghandhraini and bhangira. Similarly, although the people in Uttarakhand also prepare the dishes common in other parts of northern India, several preparations are unique to Uttarakhand tradition such as rus, chudkani, dubuk, chadanji, jholi, kapa, etc. Among dressed salads and sauces, kheere ka raita, nimbu mooli ka raita, daarim ki khatai and aam ka fajitha necessarily deserve a mention. The cuisine mainly consists of food from two different sub regions - Garhwal and Kumaon - though their basic ingredients are the same. Both the Kumaoni and Garhwali styles make liberal use of ghee, lentils or pulses, vegetables and bhaat (rice). They also use Badi (sun-dried Urad Dal balls) and Mungodi (sun-dried Moong Dal balls) as substitutes for vegetables at times. During festivals and other celebrations, the people of Uttarakhand prepare special refreshments which include both salty preparations such as bada and sweet preparations such as pua and singal. Uttarakhand also has several sweets (mithai) such as singodi, bal-mithai, malai laddu, etc. native to its tradition.
WEST BENGAL
During the 19th century, many Odia-speaking cooks were employed in Bengal, which led to the transfer of several food items between the two regions. Bengali cuisine is the only traditionally developed multi-course tradition from the Indian subcontinent that is analogous in structure to the modern service à la russe style of French cuisine, with food served course-wise rather than all at once[citation needed]. Bengali cuisine differs according to regional tastes, such as the emphasis on the use of chilli pepper in the Chittagong district of Bangladesh However, across all its varieties, there is predominant use of mustard oil along with large amounts of spices. The cuisine is known for subtle flavours with an emphasis on fish, meat, vegetables, lentils, and rice. Bread is not a common dish in Bengali cuisine, but a deep fried version called luchi is popular. Fresh sweetwater fish is one of its most distinctive features; Bengalis prepare fish in many ways, such as steaming, braising, or stewing in vegetables and sauces based on coconut milk or mustard. East Bengali food, which has a high presence in West Bengal and Bangladesh, is much spicier than the West Bengali cuisine, and tends to use high amounts of chilli, and is one of the spiciest cuisines in India and the World. Shondesh and Rasgulla are popular sweet dishes made of sweetened, finely ground fresh cheese. The "Jaggery Rasgullas" are even more famous. The rasgulla originated in Bengal. and later became popular in erstwhile Odisha. The government of west Bengal has recently acquired the GI status of rasgulla after citing proof in court.
The cuisine is also found in the state of Tripura and the Barak Valley of Assam.
DIASPORA AND FUSION CUISINE
The interaction of various Indian diaspora communities with the native cultures of their domiciles have resulted in the creation of many fusion cuisines, which blend aspects of Indian and foreign cuisines. These cuisines tend to adapt Indian seasoning and cooking techniques to foreign dishes.
INDIAN CHINESE CUISINE
Indian Chinese cuisine, also known as Indo-Chinese cuisine originated in the 19th century among the Chinese community of Calcutta, during the immigration of Hakka Chinese from Canton (present-day Guangzhou) seeking to escape the First and Second Opium Wars and political instability in the region. Upon exposure to local Indian cuisine, they incorporated many spices and cooking techniques into their own cuisine, thus creating a unique fusion of Indian and Chinese cuisine. After 1947, many Cantonese immigrants fleeing political repression under Mao Zedong, opened their own restaurants in Calcutta, whose dishes combined aspects of Indian cuisine with Cantonese cuisine. While Indian Chinese cuisine is heavily derived from traditional Chinese cuisine, it bears little resemblance to its Chinese counterpart. The dishes tend to be flavoured with cumin, coriander seeds, and turmeric, which with a few regional exceptions, are not traditionally associated with Chinese cuisine. Chilli, ginger, garlic and dahi (yogurt) are also frequently used in dishes.
Popular dishes include Chicken Manchurian, Chicken lollipop, Chilli chicken, Hakka noodles, Hunan chicken, Chow mein, and Szechwan fried rice. Soups such as Manchow soup and Sweet corn soup are very popular, whereas desserts include ice cream on honey-fried noodles and date pancakes. Chow mein is now known as one of the most favorite Chinese dishes in India. Especially in West Bengal, it is one of the most loved street foods.
MALAYSIAN INDIAN CUISINE
INDIAN SINGAPOREAN CUISIBE
Indian Singaporean cuisine refers to foods and beverages produced and consumed in Singapore that are derived, wholly or in part, from South Asian culinary traditions. The great variety of Singaporean food includes Indian food, which tends to be Tamil cuisine, especially local Tamil Muslim cuisine, although North Indian food has become more visible recently. Indian dishes have become modified to different degrees, after years of contact with other Singaporean cultures, and in response to locally available ingredients, as well as changing local tastes.
INDIAN INDONESIAN CUISINE
Indian-Indonesian cuisine refers to food and beverages in Indonesian cuisine that are have influenced of Indian cuisine - especially from Tamil, Punjabi, and Gujarati cuisine. These dishes are well integrated.
ANGLO-INDIAN CUISINE
Anglo-Indian cuisine is the cuisine that developed during the British Raj in India, as the British wives interacted with their Indian cooks. Well-known Anglo-Indian dishes include chutneys, salted beef tongue, kedgeree, ball curry, fish rissoles, and mulligatawny soup.
DESSERTS
Many Indian desserts, or mithai, are fried foods made with sugar, milk or condensed milk. Ingredients and preferred types of dessert vary by region. In the eastern part of India, for example, most are based on milk products. Many are flavoured with almonds and pistachios, spiced with cardamon, nutmeg, cloves and black pepper, and decorated with nuts, or with gold or silver leaf. Popular Indian desserts include Rasogolla, gulab jamun, jalebi, laddu, peda etc.
BEVERAGES
NON-ALCÄOHOLIC BEVERAGES
Tea is a staple beverage throughout India, since the country is one of the largest producers of tea in the world. The most popular varieties of tea grown in India include Assam tea, Darjeeling tea and Nilgiri tea. It is prepared by boiling the tea leaves in a mix of water, milk, and spices such as cardamom, cloves, cinnamon, and ginger. In India, tea is often enjoyed with snacks like biscuits and pakoda.
Coffee is another popular beverage, but more popular in South India. Coffee is also cultivated in some parts of India. There are two varieties of coffee popular in India, which include Indian filter coffee and instant coffee.
Lassi is a traditional dahi (yogurt)-based drink in India. It is made by blending yogurt with water or milk and spices. Salted lassi is more common in villages of Punjab and in Porbandar, Gujarat. Traditional lassi is sometimes flavoured with ground roasted cumin. Lassi can also be flavoured with ingredients such as sugar, rose water, mango, lemon, strawberry, and saffron.
Sharbat is a sweet cold beverage prepared from fruits or flower petals. It can be served in concentrate form and eaten with a spoon, or diluted with water to create a drink. Popular sharbats are made from plants such as rose, sandalwood, bel, gurhal (hibiscus), lemon, orange, pineapple, sarasaparilla and falsa (Grewia asiatica). In Ayurveda, sharbats are believed to hold medicinal value.
Other beverages include nimbu pani (lemonade), chaas, badam doodh (almond milk with nuts and cardamom), and coconut water. Cold drinks unique to southern India include beverages, such as "Panner Soda" or "Gholi Soda", which is a mixture of carbonated water, rose water, rose milk, and sugar. "Narenga Soda", a mixture of carbonated water, salt and lemon juice and "Soda Nannari Sharbat", a mixture of sarasaparilla Sharbat with carbonated water are most popular non alcoholic beverages in Kerala and Tamil Nadu. Street shops in Central Kerala and Madurai region of Tamil Nadu are most popular for these drinks which are also called 'Kulukki Sharbats' in Kerala
ALCOHOLIC BEVERAGES
BEER
Most beers in India are either lagers (4.8 percent alcohol) or strong lagers (8.9 percent). The Indian beer industry has witnessed steady growth of 10–17 percent per year over the last ten years. Production exceeded 170 million cases during the 2008–2009 financial year. With the average age of the population decreasing and income levels on the rise, the popularity of beer in the country continues to increase.
OTHERS
Other popular alcoholic drinks in India include fenny, a Goan liquor made from either coconut or the juice of the cashew apple. The state of Goa has registered for a geographical indicator to allow its fenny distilleries to claim exclusive rights to production of liquor under the name "fenny."
Hadia is a rice beer, created by mixing herbs with boiled rice and leaving the mixture to ferment for around a week. It is served cold and is less alcoholic than other Indian liquors. Chuak is a similar drink from Tripura. Palm wine, locally known as Neera, is a sap extracted from inflorescences of various species of toddy palms. Chhaang is consumed by the people of Sikkim and the Darjeeling Himalayan hill region of West Bengal. It is drunk cold or at room temperature in summer, and often hot during cold weather. Chhaang is similar to traditional beer, brewed from barley, millet, or rice. Kallu(Chetthu Kallu) is a popular natural alcohol extracted from coconut and pine trees in Kerala. It is sold in local Kallu shops and is consumed with fried fish and chicken. Its alcoholic content is increased by addition of alcoholic additives.
EATING HABITS
Indians consider a healthy breakfast important. They generally prefer to drink tea or coffee with breakfast, though food preferences vary regionally. North Indian people prefer roti, parathas, and a vegetable dish accompanied by achar (a pickle) and some curd. Various types of packaged pickles are available in the market. One of the oldest pickle-making companies in India is Harnarains, which had started in the 1860s in Old Delhi. People of Gujarat prefer dhokla and milk, while south Indians prefer idli and dosa, generally accompanied by sambhar or sagu and various chutneys.
Traditional lunch in India usually consists of a main dish of rice in the south and the east, and whole wheat rotis in the north. It typically includes two or three kinds of vegetables, and sometimes items such as kulcha, naan, or parathas. Paan (stuffed, spiced and folded betel leaves) which aids digestion is often eaten after lunch and dinner in many parts of India. Apart from that, many households, specially those in north and central India, prefer having sweets after the dinner (similar like the western concept of dessert after meals).
Indian families often gather for "evening snack time", similar to tea time to talk and have tea and snacks. Dinner is considered the main meal of the day.
DIETARY RESTRITIONS
In India people often follow dietary restrictions based on their religion or faith:
Hindu communities consider beef taboo since it is believed that Hindu scriptures condemn cow slaughter. Cow slaughter has been banned in many states of India.
Vaishnavism followers generally do not eat garlic and onions because they are advised against it in the Bhagavad Gita.
Jains follow a strict form of vegetarianism, known as Jain vegetarianism, which in addition to being completely vegetarian, also excludes potatoes and other root vegetables because when the root is pulled up, organisms that live around the root also die.
Muslims do not eat pork or pork products.
ETIQUETTE
Traditionally, meals in India were eaten while seated either on the floor or on very low stools or mattress. Food is most often eaten with the hands rather than cutlery. Often roti is used to scoop curry without allowing it to touch the hand. In the wheat-producing north, a piece of roti is gripped with the thumb and middle finger and ripped off while holding the roti down with the index finger. A somewhat different method is used in the south for the dosai, the adai, and the uththappam, where the middle finger is pressed down to hold the crepe down and the forefinger and thumb used to grip and separate a small part. Traditional serving styles vary regionally throughout India.
Contact with other cultures has affected Indian dining etiquette. For example, the Anglo-Indian middle class commonly uses spoons and forks, as is traditional in Western culture.
In South India, cleaned banana leaves, which can be disposed of after meals, are used for serving food. When hot food is served on banana leaves, the leaves add distinctive aromas and taste to the food. Leaf plates are less common today, except on special occasions.
OUTSIDE INDIA
Indian migration has spread the culinary traditions of the subcontinent throughout the world. These cuisines have been adapted to local tastes, and have also affected local cuisines. Curry's international appeal has been compared to that of pizza. Indian tandoor dishes such as chicken tikka enjoy widespread popularity.
CANADA
As in the United Kingdom and the United States, Indian cuisine is widely available in Canada, especially in the cities of Toronto, Vancouver, and Ottawa where the majority of Canadians of South Asian heritage live.
CHINA
Indian food is gaining popularity in China, where there are many Indian restaurants in Beijing, Shanghai, and Shenzhen. Hong Kong alone has more than 50 Indian restaurants, some of which date back to the 1980s. Most of the Indian restaurants in Hong Kong are in Tsim Sha Tsui.
MIDDLE EAST
The Indian culinary scene in the Middle East has been influenced greatly by the large Indian diaspora in these countries. Centuries of trade relations and cultural exchange resulted in a significant influence on each region's cuisines. The use of the tandoor, which originated in northwestern India, is an example. The large influx of Indian expatriates into the Middle Eastern countries during the 1970s and 1980s led to the booming of Indian restaurants to cater to this population and was also widely influenced by the local and international cuisines.
NEPAL
Indian cuisine is available in the streets of Nepalese cities, including Kathmandu and Janakpur.
SOUTHEAST ASIA
Indian cuisine is very popular in Southeast Asia, due to the strong Hindu and Buddhist cultural influence in the region. Indian cuisine has had considerable influence on Malaysian cooking styles and also enjoys popularity in Singapore. There are numerous North and South Indian restaurants in Singapore, mostly in Little India. Singapore is also known for fusion cuisine combining traditional Singaporean cuisine with Indian influences. Fish head curry, for example, is a local creation. Indian influence on Malay cuisine dates to the 19th century. Other cuisines which borrow inspiration from Indian cooking styles include Cambodian, Lao, Filipino, Vietnamese, Indonesian, Thai, and Burmese cuisines. The spread of vegetarianism in other parts of Asia is often credited to Hindu and Buddhist practices.
UNITED KINGDOM
The UK's first Indian restaurant, the Hindoostanee Coffee House, opened in 1810. By 2003, there were as many as 10,000 restaurants serving Indian cuisine in England and Wales alone. According to Britain's Food Standards Agency, the Indian food industry in the United Kingdom is worth 3.2 billion pounds, accounts for two-thirds of all eating out and serves about 2.5 million customers every week.
One of the best known examples of British Indian restaurant cuisine is Chicken tikka masala, which has also been called "a true British national dish."
IRELAND
Ireland's first Indian restaurant, the Indian Restaurant and Tea Rooms, opened in 1908 on Sackville Street, now O'Connell Street, in Dublin. Today, Indian restaurants are commonplace in most Irish cities and towns. Non-Chinese Asians are the fastest growing ethnic group in Ireland.
UNITED STATES
A survey by The Washington Post in 2007 stated that more than 1,200 Indian food products had been introduced into the United States since 2000. There are numerous Indian restaurants across the US, which vary based on regional culture and climate. North Indian and South Indian cuisines are especially well represented. Most Indian restaurants in the United States serve Americanized versions of North Indian food, which is generally less spicy than its Indian equivalents.
At sit-down restaurants with North Indian cuisine (the most common), complimentary papadum is served with three dipping sauces − typically hari chutney (mint and cilantro), imli chutney (taramind), and a spicy red chili or onion chutney − in place of European-style bread before the meal.
WIKIPEDIA
Even though the construction of the Pavesi Autogrill chain represented an economic and social phenomenon of noteworthy relevance in Italy, it should not go unnoticed that the history of contemporary architecture treated in a very marginal way the description of these works, in some instances, maybe in the post-modern revaluation of a generic Italian highway “landscape” observed at the most for its phenomenological implications rather than for the fact it belonged to the typology of city building through architecture.
It is a fact that these buildings were left out of the most authoritative research of the years of economic reprise after World War II. Immediately before, in the years of Reconstruction, the traditional masonry technique was progressively converted into a modern“Neo-Realistic” language for some aspects, especially evident in the first residential INA-Casa neighborhoods, according to specific Italian characteristics of interpretation of the Modernist Movements that became famous worldwide through the works of architects that had already been very unconventional experimenters in the cultural landscape of the years preceding the war: Albini, the BBPR ( and the writings of Ernesto Nathan Rogers), Quaroni, Samonà, Gardella, Ridolfi, that can be contextualized also in the works of a culturally engaged entrepreneur like Adriano Olivetti.
The buildings by Angelo Bianchetti for the Pavesi Autogrills designed like bridges crossing the highway are far from this cultural landscape, and were born in the context of those forms of entertainment and leisure time activities brought on by the economic prosperity and by the idea of progress linked to the euphoria of speed and of car travel.
Nonetheless these buildings deserve to be considered as works of art at least for two reasons. First of all, because the technological gradient follows the criteria of experimentation of shapes and structural frames in the exposure of beaming, in the projections of the shelves, in the wide, light, and transparent continuous windows, in the slim metal frames well designed to support the advertising billboards: a criteria embedded in the history of architecture whose roots are founded on a continuity of thought and on a modern “spirit of the times” that is daring and evokes emotions.
Secondly, we can catch a glimpse of a territorial projection of architecture that shows attraction for large scale dimensions (both geographical and commercial), and for a certain poetical spirit of of “megalithic structures” that in a short period of time became a rather recurrent composition theme especially in the important tenders for the contracts of the directional centers of Turin (1962) and for the Sacca del Tronchetto in Venice (1964), and that were reintroduced in the history of modern architecture by the famous book by Reiner Bahnam[1].
As a phenomenon, the bridge architecture of the Pavesi Autogrills is impressed in the collective memory of the Italian highway landscape even though their construction is circumscribed to about twelve such buildings in the course of about ten years, between 1959 and 1972, in the same period in which the Italian highway system developed.
Still today, going through these works of “advertising architecture” that nowadays show subdued colors with respect to the surrounding landscape thanks to a restyling, awakens the attention of hasty travelers that can see the Autogrills arising from a great distance or appearing all of a sudden between a sequence of bridges to disappear in a moment at one’s back, leaving an impression in the memory of crossing something extremely vital, like a fragment of a city. Unusual an beautiful perspectives vertiginously attracted by the dynamic perception of vehicles appeared in the eyes of those who stopped there and sat at the tables facing the highway lanes, especially of the countryside of the Po River Valley.
Because of this fascination with the landscape of a modern territory, the localization of bridged Autogrills did not follow the false ambition of aesthetics in the quest for a setting that could be compatible with the surrounding scenery or that could be particularly persuasive, but on the contrary, these bridges were located strategically on the territory according to a design that was very coherent with a market strategy that was starting to understand that rest areas for car travelers were a new large commercial sector and a channel for the diffusion of novelty food products.
This concept, genuinely based on the market and on novelty foods merchandising, followed a system of modern objects which were strictly connected to a new industrial culture that was developing in those times.
But the real innovation which came was to be that of typology, probably born around a planning table rather than at the design desk by the ideas of architect Bianchetti and entrepreneur Pavesi, and surely in a moment of conjunction between the innovative and open industrial culture ad an architectural culture that even before those times had developed interesting experiences and experimental works through the forms of the Modernist Movement, catching the attention of international culture.
Therfore the diffusion of the Pavesi Autogrills started with the intuition that Mario Pavesi had of a possible market for a chain of highway restoration points, and this became a solid reality with the first rest area in Novara along the stretch of the Turin-Milan highway. This industrial strategy, joined with the forms of advertising architectures by Angelo Bianchetti, made it possible to construct about one hundred restoration points in the span of about twenty years from 1959 to 1978, with about fifty of these being full size Autogrills.
During an initial phase of formal structuring that cannot be precisely indicated by temporal references, the first rest areas were located laterally with respect to the highway in Lainate (Milan, 1958), in Ronco Scrivia (Genoa, 1958), and in Varazze (Genoa, 1960), and featured large steel arches painted in white that supported the logotype and were placed on top of circular transparent structures containing a bar and shelves to sell products. These still followed the architectural matrix of pavilions made for fair exhibits, but with a substantial difference in the fact that their silhouette stood out against the Italian countryside landscape of the time creating a unique and surprising setting. The bridge typology was the evolution of this asymmetrical disposition of rest areas on one side of the highway with an underpass that made them reachable from the other lane. The first example of bridged rest areas for the Pavesi chain (and perhaps the first one in the world), was the rest area of Fiorenzuola d’Arda (Piacenza, December 21, 1959).
Therefore, it seems possible that he phenomenon of the birth and the diffusion of the highway rest areas, especially for what concerns the definition of the bridge typology and for a certain quality of the services offered, originated in Italy. Bianchetti himself attests this in an interesting report of a journey published by the magazine “Quattroruote” (four wheels) in 1960, describing the diffusion of auto-grills areas observed during his travel in the United States and in Germany and comparing it with the Italian situation. In this writing, there is a striking recognition of a contemporary trend in the making of similar structures: Bianchetti illustrates the project of a bridged rest area in Illinois by the Standard Motor Oil chain, and praises the high quality of the environment of the rest areas of the Howard Johnson chain.
«I learned that architects Rinford and Genther are building in Chicago an extremely new design, and I reached them by taking a flight. The two architects work for Pace Associates, a studio of Italian origins, and their first constructions are being completed at a few tens of kilometers from the metropolis: it is a series of five restaurants bars. In general, they look like the ones that will be built on our Autostrada del Sole.
I reached one of these areas that has already been completed at about fifty kilometers from Chicago by car. It is built like a bridge on the highway, with the use of prefabricated cement structures, and the rest area, when seen from a distance, looks like a massive overpass.
At night, with the light reflecting on the walls made of smoothed glass, it gives you the idea of a ship. Once again, prefect signposting and the agile game of “four leaf clover” exits facilitate the passage of clientele: the psychological tests confirm that the decision of stopping does not impose any conscious effort of will on the driver. To avoid the problem of stairs and elevators, the builders even provided to raise the entire area of parking lots and platforms. You can reach the level of the “restaurant floor” by car. But how much will one of these colossal structures cost, without considering the cost of parking lots, of lanes, signposting and many more indispensable accessory expenses?
The two architects informed me that the average expense is of about one billion Italian Lire. The surprising kitchen tools made of stainless steel that you can find in detailed description in a book of three hundred pages cost a little less of two hundred million Lire alone. It is a real treatise»[2].
Among the bridged Autogrills that followed shortly after this period, we find the Abraham Lincoln Oasis by David Haid on the Northern Illinois Highway of circa 1967, with its elegant and minimal geometries of steel beams and glass and with its use of the criteria of access ramps to parking lots to reach the restaurant level. In Italy, we must take note of some bridged rest areas of the Motta chain in Cantagallo by Melchiorre Bega, and in Limena by Pier Luigi Nervi.
In any case, the construction of bridged Autogrills increased the possibilities of access, but their limitations in the possible increase of utility ad renewal seemed perhaps too binding and costly in the massive increase in highway traffic of the 1980s, determining the actual exhaustion of possibilities for this extremely interesting typology, as Angelo Bianchetti himself at the time recalled in one of his short writings of 1979, underlining a paradoxical situation of inadequacy to the market in a climate of full economic recession and energetic crises.
«[…] the cost of a bridge with all of its accessories was clearly lower than that of two lateral Autogrills, without mentioning that noteworthy savings on operating costs, both for the installation and for the personnel. The visibility at a distance is much more immediate of that which a later Autogrill offers: let us not forget that a driver traveling at a speed of 120—140 kilometer per hour must decide in a few seconds whether to enter or not the ramp of deceleration.
In conclusion, the advertising image of a bridge is by itself more effective and of sure appeal. […]. Today the situation has changed. The huge increase of costs (fuels, cost of operating machines) has slowed down the flow of traffic and has reduced the user’s spending possibilities.
The cost of construction with respect to 1972 is almost fourfold, and it has increased terribly. All this imposes a revision of the investment policies; the tendency today is not to build new Autogrills but at the most new snack-bars connected to a nearby gas station. It not feasible anymore to build a bridge, unless in an extremely well established service area of large traffic that can guarantee the constant flow and support of travelers»[3].
The numerous formal variation of these bridge installation extended the possibilities for signposting through flagpoles dressed up with the Pavesi flags like ships on a dock, or through some functional increases, like the annexation of a motel. The one in Novara (1962), that replaced a previous service station and that was the largest one built, and the one in Osio (Bergamo 1972), the last to be built with bridge typology, were identical in lines and shapes and were perhaps the most successful ones, while the one in Montepulciano (Siena, 1967) features an extremely striking and apparently suspended beaming and a projection of Corten steel. Lastly; the one in Nocera (Salerno, 1971), presents an interesting combination with the function of motel, attempted as an enlargement project in the one in Novara as well, but then never built. The other bridged ones are in Sebino (Brescia, 1962), Feronia (Rome, 1964), Frascati (Rome, 1963), Soave (Verona, 1969), Rezzato Nord (Brescia, 1970).
Nonetheless some characteristics remained a constant, like a certain formal uniqueness and sense of completion of the construction that gave a full rounded perception of the buildings even in the headboards frequently crowned by a large cantilever staircase. This can be seen clearly in period photos and it is less noticeable nowadays because of the frequent addition of low lateral tourist market buildings and because of softer colors used. The chromatic treatment of the metal sun shading roofs (a bright red color) became the distinctive feature of Pavesi Autogrills and circumscribed the building itself in the whole, while the balanced collocation of the few billboards did not enter into conflict with the gasoline signposts but on the contrary seemed to match them, and at night these were lit by their own lights. Moreover some gasoline stations designed by Bianchetti like the one in Sabino for Esso, distinguished themselves for the essential nature and elegance of structures with tall and slender signs and prismatic elements for the buildings.
The inside was indeed surprising for the type of light that filtered as a reflection and for the continuous perception of the dimension of inner space as a whole due to a longitudinal disposition of the counters and to the a contined set up of the product shelving, evoking a perception of the Autogrill as a self standing unit animated by its own life in the multiplicity of people that entered there.
The setting implied a reduction of the strictly communicative aspects to the simple interior design of the space, with a playful sense in the disenchanted and free style collage of Baroque and modern elements like the large glass drops chandelier in Lainate that appeared on the pages of “Life” magazine, or the Vietri ceramic tiles flooring frequently utilized, or the woven wicker baskets used as displays for the Pavesi products, to the concise inner signs that retraced the highway signs and to the essential lines of the American style counters with stools. It was anything but a coordinated image, but in the end it was a greatly coherent setting with regard to expressiveness, and it was handled case by case solely through the architecture, without any apparent preoccupation with the integration of aesthetics except perhaps the idea of a vanguard collage that actually was a trend in the taste in advertising graphic art of those years (especially for Erberto Carboni) and that had its origin in the experiments in modern architecture made between the two wars, as we will shortly see.
Lastly, a third typology of construction contemporary with the bridged one was a design foreseeing a restaurant area lateral to the highway with a red sheet metal covering with four layers which was much more flexible in adapting to dimensions.
Alongside with the wide diffusion of Pavesi Autogrills (Alivar- Pavesi), Motta Autogrill and Alemagna Autobar (ex-Unidal) chains developed in Italy, and then were ex-corporate from their respective head companies on February 28, 1977 and regrouped in to the Autogrill spa society that today manages all of the restoration points along the highway.
The experimental tradition of “advertising architecture”
The experiences made by Angelo Bianchetti (born in 1911 and died in 1995) before World War II are extremely interesting and represent an very significant anterior fact to understand the reasons that brought to the long collaboration with Pavesi. A graduate in Architecture of the Milan Polytechnic in 1934, he traveled to study in Germany, worked in Berlin for the Mies van del Rohe studio and for the Luckard brothers studio, and met Gropius and Breuer.
In Italy, he worked with Giuseppe Pagano on a few projects in 1938 thus completing an itinerary that crossed the most significant episodes of modern architecture of our century, following a tradition of international exchanges that at the time was widely spread. As a project designer, often together with Cesare Pea, he worked on a number of architectural layouts for exhibits and advertising pavilions for fairs, and became one of the main protagonists of a theme of construction that back then was completely new – the theme of exhibit architecture, a culturally important and acknowledged theme in the landscape of modern international architecture.
This was a theme on which the most important architects, graphic designers and artists of the cultural Italian scene between the two wars had a lively debate, especially during the era of Fascism, that saw in it a real modernity of communication and a dose of inventive ruthlessness and cultural availability together with the ability to give the large industrial groups occasions to promote their modern and cosmopolitan image (though a dictatorial one) in Italy and abroad through important international expos.
Therefore, modern Italian architecture in those years was able to channel the needs of propaganda within the paths of a history of art and within those plastic and figurative values that were more attentive to moral issues. In this sense, the possibilities for formal experimentation that architecture made possible back then established a few solid principles of an Italian rationalistic poetical style that was intended as expression of a lyricism and that had no equal in later years.
The “Casabella -Costruzioni” magazine directed by Giuseppe Pagano, reported on numerous occasions the main exhibits made in the heroic period that goes from 1925 to 1940 in which Angelo Bianchetti took part as the author of beautiful set ups together with other important emerging names like Erberto Carboni, Marcello Nizzoli, Bruno Munari,t the Boggeri studio (that in the years following the war we will find working for Barilla, Olivetti, Agip, …).
Of these exhibit set ups, we must mention the pavilions by Edoardo Persico and Marcello Nizzoli for the Italian Aeronautical Expo of Milan in 1934; the Gio Ponti and Erberto Carboni pavilions for the Exhibit of Catholic Press at the Vatican in 1935; the set up of the Hall of Victory at the VI Triennial Expo of Milan of 1936 by Nizzoli, Palanti, Persico, Fontana (in those times already referred to as “a work of rare and highest poetry”); the Italian pavilions for the Paris Expo of 1937 with the intervention of the most important Italian architects; the pavilion by Bianchetti and Pea and the Boggeri Studio for the Isotta Fraschini company at the Fair of Milan in 1938; the luminous surface tensions by Nizzoli and Bianchetti at the National Textiles Exhibit in Rome in 1939; the Bianchetti and Pea pavilions for Raion and for Chatillon at the Milan Fair of 1939, formed by a lightweight frame with three orders and covered by light ad small vaults shaped like a transparent and lyrical honor tribune in the way that only Italian Rationalism was able to do.
These operations for temporary set ups connected the languages of abstraction and of the pure forms of international Realism with a Baroque vein expressed in the combination of graphic and sculptural elements, in the use of curtains and of narrative naturalistic elements (from the sculpture by Fontana for the Hall of Victory at the Triennial Expo of 1936 to the advertising signs of the textiles pavilion, according to a poetic and rather unique idea of collage that was very original in the landscape of modern architecture.
Very important in order to comprehend the pragmatic spirit of this theme for the architectural modern culture of those times is a writing by Angelo Bianchetti and Cesare Pea of 1941 on the theme of advertising architecture that establishes some characteristics that were undoubtedly reprised in the exhibit architecture of the years after the war and that created the premise for the Italian highway landscape of advertising architecture.
First of all, what is striking about this writing is the concept that these architectures can serve the function of contributing in a positive way to the definition of a new urban landscape already projected towards the torments of an undefined territory structured with fair headquarters and sport centers, theme parks, shopping centers and highway congestion points, starting from the occasion of an advertising set up intended in architectural terms.
Secondly, these constructions are not just inserted in a system of means of transportation to guarantee elevated accessibility, but also to accentuate the dynamic perception of the whole, and in this sense the relationship between bridged Autogrills and the highway exalts the aesthetics of kinematics.
In third place, it is striking that architecture partially renounced some building aspects to rediscover the values and new aesthetic concept of monument through a combination of signposting, graphic, and visual communication that penetrates indoors, in the furnishings, and recomposes a unity of applied arts.
«Le Corbusier and M. Breuer build their advertising architectures on the base of their artistic abilities more that to their architectural skills. An active pictorial imagination gives the project designer the possibility to renounce to give an entirely constructional and formally still aspect to his own pavilion. We think that this can be conceived in such a way to appear based on a single structure with the use of substantially different solutions. The ideal pavilion from the advertising point of view is one composed of fixed elements related to the laws of building statics that at the same time offer to the imagination different possibilities of a practical nature, that can be made also in successive phases. Therefore, not a facade defined architecturally, even though beautiful, but a system of elements and fields in which to express the imaginative spirit of the decorator. In such a way the abilities of a good architect and interior designer can fully develop: the study of the structure will bring him to intuitions of rational architectural order, while the expressive possibility will lead him to use these elements with the highest freedom and to create works of pure artistic design.
The appeal of the suggestive elements that advertising work must express will come from the fusion of these two possibilities. All which modern technique gives the artist as a support, the new materials, new systems of lighting, the cinematographic aspects, the mechanical devices, can concur to the perfection and complexity of the work that the artist conceived with his own imagination. But the use of these elements is part of the generic knowledge of an architect that are not the object of this study.
Instead, the problem that originates from the combination of various pavilions and advertising elements of a Fair or Exhibition forms a chapter of advertising urban planning whose direction would deserve an in depth study»[4].
Architecture and the design of new industrial products in Italy after World War II
The concept of industrial and market that arose in the years after WWII in Italy and throughout all of the 1950s and 1960s can be definitely found in the geographical area between Milan and Turin, the area of the initial development of the highway system, and of the modern democratic entrepreneurial cosmopolitan and culturally engaged world of Olivetti, and of Pavesi of Novara.
It is not a chane that the magazine “Comunità” (community) founded by Adriano Olivetti was engaged in those years in themes of architecture and urban planning and also with sociology in its different aspects of urban development, mass behavior, industrial production, and published studies on advertising and the unconscious mind on the organization of Shopping Centers in the United States, on the Italian highway landscape, or on food consumption in Italy[5].
These themes surfaced with full force in the concerns of the Italian entrepreneurs that frequented the most densely industrialized areas of the United States (especially the West Coast) and in a certain sense these were ideas that could be actualized in Italy as well at least in the smartest industrial sectors that were capable to invest in development.
This is certainly the economic context in which the construction of the Pavesi Autogrills was inserted. The idea of modern times and social well being that pervaded the aesthetics of Pavesi Autogrills was based on a completely new food product, the Pavesini cookies and the Crakers, produced on a large industrial scale as never before, and tied to lifestyles and psychologies of use that for the first time in those years surfaced and of which there was full awareness.
But because of the structure of Italian cities, in which the residential Ina-Casa neighborhoods typical of the intensive urban growth of the northern cities tended towards a landscape that was still close to that of a compact city, the shopping centers of the time were of a typology of sales too radical to be proposed, while the Autogrills located on the highways cold well enough be interpreted in this sense as a sales point for novelty industrial products diffused on the territory, in which the market strategies could be applied directly without intermediaries and a modern and cosmopolitan image could be promoted.
The relationship of entrepreneurship and architectural design between Mario Pavesi and Angelo Bianchetti, as well as the relationship with other intellectuals for other more literary and clearly marked graphic forms of communication should not be intended as a cultured construction of corporate identity, nowadays necessarily corresponding to a quote of production that each industrial activity must possess, but as something more complex and with roots going deep into a specific ability of the Italian industrial culture (that with the refined work of Adriano Olivetti reached its apex) to use as its own the tools of communication in the system of behaviors of producers and consumers.
Therefore here it is not solely a matter of refined design of of stylized image but rather of the fine tuning of tools strictly connected to the production and distribution of products, tools in which the aesthetically implications had a place of relevance. A rather significant parallelism involving architecture in the processes of industrial communication happened in the United States at the same time, in the 1950s and 1960s, as the top industries of the time like IBM or the TWA aerial transportation company, for example, asked innovative architects like Charles Eames (who mounted elaborate films and avant-garde multi-vision materials), or Eero Saarinen (who made phantasmagorical theaters for the international expo and to animate the horizons of airports with forms made of cement or crystal and evoking emotions)[6].
These companies entrusted them by delegating the task of building the company image according to a culture of conquest of the new that we still find nowadays, but acted in a different environment, more determined and structured in an entrepreneurial way and in which the need for aesthetics of the object of use was less of a priority, for example, even though often reached results of the highest quality.
But in Italy everything was different: for example, the design by Marcello Nizzoli for a calculator, or the one by Carlo Scarpa for an Olivetti store, or the one by Erberto Carboni for Barilla pasta, or the advertisement for Pavesi cookies written by Gianni Rodari as children literature, were necessary elements of a new concept of the object of use an the work of intellectuals in this context was instrumental to the comprehension of the new industrial products in a domestic and working landscape that was still formed in part by handcrafted objects (and still today attracted strongly by the components of originality and personality also in the aesthetic choice).
Who in Italy would have bought Pavesi, Barilla, and Olivetti products, for example, if a group of food intellectuals had not converted the packaging for food and machines into a new culture of merchandise?
Bibliography note
We thank for his patience and collaboration architect Jan Jacopo Bianchetti who keeps the archive of Angelo Bianchetti’s work and has given permission for the reproduction of the photographic material, the designs and the publications related to the Pavesi Autogrills.
Among the writings of Angelo Bianchetti we mention: Bianchetti, C. Pea, Architettura pubblicitaria (advertising architectures), in “Casabella-Costruzioni”, n.159-160, 1941, a mono-graphic issue dedicated to the architecture of expos with rich iconography documentation edited by Bianchetti and Pea themselves. ; A. Bianchetti, Le oasi dell’autostrada (highway oasis), in “Quattroruote”, n.1, January 1960; A. Bianchetti, I ponti non convengono più (bridges are not convenient anymore), in “Modo”, n.18, April 1979.
Furthermore, it is opportune to cite: Italian luxury for export and those at home, too “Life” 26 September 1960; R. WEST, Italy: the new lean Bread of Eurocrats, “The Sunday Times”, 26 August 1962; C. MUNARI, Lo stile Pavesi (thepavesi style), in “Linea Grafica”, n. 5, September-October 1966, pp. 240-252; A. Colbertaldo, Quando si mangiava sopra i ponti (when we had lunch on bridges), in “Modo”, n. 18, April 1979; M. BELLAVISTA, Uomo di marketing prima del marketing (a marketing man before the times of marketing), in “Il Direttore Commerciale”, n. 7, 1988, pp. 16-21; B. Lemoine, I ponti-autogrill (the auto-grilll bridges), in “Rassegna”, n.48, December 1991.
We mention two more accounts of the actual phenomenon of the development of highway landscapes: P. DESIDERI, La città di latta. Favelas di lusso, Autogrill, svincoli stradali e antenne paraboliche (The tin city. Luxury Favelas, Autogrills, highway exits and parabolic antennas), Genova, Costa e Nolan, 1997; P. CIORRA, Autogrill. Spazi e spiazzi per la società su gomma (Autogrills, spaces and platforms for a society n wheels) , in Attraversamenti. I nuovi territori dello spazio pubblico (Crossings. The new territories of public spaes), edited by P. DESIDERI e M. ILARDI, Genova, Costa e Nolan, 1997.
[1] R. Banham, Megastructure. Urban future of the recent past, Londra, Thames and Hudson, 1976, the text does not illustrate these highway buildings.
[2] A. BIANCHETTI, Le oasi dell’autostrada (the highway oasis), in “Quattroruote”, n. 1, January 1960.
[3] A. COLBERTALDO, Quando si mangiava sopra i ponti (when we had lunch on top of bridges), in “Modo” n.18, April 1979.
[4] A. BIANCHETTI, C. PEA, Architettura pubblicitaria (advertising architecture), in “Casabella-Costruzioni”, n. 159-160, 1941.
[5] A. CANONICI, Pubblicità ed inconscio (advertising and the unconscious mind) in “Comunità”, n.60, 1958; A. BAROLINI, L’organizzazione dei centri di vendita in America, (the organization of sales points in America) in “Comunità”, n.67, 1959; R. BONELLI, Le autostrade in Italia (highways in Italy), in “Comunità”, n.86, 1961; G. TIBALDI, I consumi alimentari in Italia (food consume in Italy), in “Comunità”, n.115, 1963.
[6] Eero Saarinen, Charles Eames, Padiglione Ibm alla Fiera mondiale di New Yorkn(the Ibm pavilion at the worl expo of New York), 1964-65, well described by Kevin Roche, Charles Eames, in “Zodiac”, n.11, 1994. #30Glorieuses & Dynamisme @ les kilométres d' #archives cachées d #Mémoire2cité @ les #Constructions #Modernes #BANLIEUE @ l' #Urbanisme & l es #Chantiers d'#ApresGuerre ici #Mémoire2ville le #Logement Collectif* dans tous ses états..#Histoire & #Mémoire de l'#Habitat / Département territoire terroir region ville souvenirs du temps passé d une époque revolue #Archives ANRU / #Rétro #Banlieue / Renouvellement #Urbain / #Urbanisme / #HLM #postwar #postcard #cartepostale twitter.com/Memoire2cite Villes et rénovation urbaine..Tout savoir tout connaitre sur le sujet ici via le PDF de l'UNION SOCIALE POUR L HABITAT (l'USH)... des textes à savoir, à apprendre, des techniques de demolition jusqu a la securisation..& bien plus encore.. union-habitat.org/sites/default/files/articles/documents/...
www.dailymotion.com/video/xk6xui Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexion approfondie et originale sur la ville et sa nécessaire adaptation à la vie moderne, notamment Paris dont l'aménagement révolutionnaire rêvé par Le Corbusier est ici exposé. Un classique du documentaire.Les premiers projets de Le Corbusier resteront à l'état de maquette : le plan de modernisation de la ville d'Alger. Certains seront réalisés par d'autres architectes : ministère de l'éducation à Rio de Janeiro, Palais de l'ONU à New York. Dès l'après-guerre en moins de 10 ans, Le Corbusier réalise de grandes unités d'habitation à Marseille, Nantes une chapelle à Ronchamps, une usine à Saint-Dié, une ville Chandigarh en Inde. Par des schémas, l'architecte présente sa théorie de la "ville radieuse", le modulor clef mathématique de son œuvre ainsi que son projet de réorganisation de la campagne, des cités industrielles et urbaine en un regroupement autour d'un système coopératif. Le film expose les conceptions architecturales de Le Corbusier, dans la ligne des précurseurs de l'architecture moderne comme Claude-Nicolas Ledoux. Paris et le désert français 1957 réalisation : Roger Leenhardt et Sydney Jezequel, résoudre le déséquilibre démographique ville campagne www.dailymotion.com/video/x177lrp Film réalisé par Roger Leenhardt et Sydney Jezequel en 1957, d'après le livre de Jean-François Gravier. Document d'information général proposant les solutions de l'époque pour éviter la désertification des campagnes et la folie concentrationnaire des villes. Dès 1957, la désertification des campagnes prend des proportions tragiques. L'exemple est donné pour le village de Gourdon dans le Quercy.
Quelles évolutions proposer pour éviter l'exode rural et le développement anarchique, qui s'amorce, des villes champignons, construites en plein champ sans urbanisme et sans âme ? Le commentaire propose les solutions de l'époque : modernisation de l'agriculture, adaptation de l'artisanat, implantations d'industries dans les provinces. Gazoducs dans le sud-ouest, barrage en Haute-Savoie, polder en Bretagne semblaient à l'époque pouvoir résoudre le déséquilibre ville campagne. Visages de la France 1957 Production - réalisation Atlantic-Film Marcel de Hubsch www.dailymotion.com/video/x19g59p Le film commence avec des vues de villages et d'architecture traditionnelle du Pays Basque, des Landes, de la Touraine, de la Normandie, de la Bretagne, d'Alsace. La voix off s'interroge : faut il transformer la France en un musée de ses vieilles demeures ? et poursuit : pourquoi des maisons de 10 à 15 mètres de hauteur à Honfleur n'ont elles que 3 à 5 mètres de large ? Le commentaire se pose la question du nombre de maisons individuelles dans les villes qui entrainent l'étalement urbain. Lorsque les villes ont bâtit des immeubles, le commentaire se demande que cachent ces façades ? Des coures étroites que le soleil ne visite jamais, un enchevêtrement inouï de constructions hétéroclites. L'époque de grande prospérité de la troisième république n'a rien su construire de grand poursuit la voix off. Ce document nous propose ensuite une animation de maquette pour l'aménagement d'une friche. Dans un premier temps à la façon d'avant avec la maison individuelle. La voix off s'exclame : ce n'est pas autrement que d'affreuses banlieues naquirent que tant de villes furent à jamais enlaidies, essayons autre chose. L'animation se met à empiler les maisons individuelles et propose des bâtiments collectifs dans des jardins. Le commentaire poursuit : maintenant c'est l'heure de l'urbaniste à lui de répartir les constructions dans la cité. Plusieurs organisation de logements collectifs sont proposées en maquettes. La voix off pointe les défauts d'un urbanisme des grands ensemble trop ennuyeux. Puis une solution émerge de l'animation : pour que la cité vive il faut mettre au place d'honneur école, dispensaire, bibliothèque, salle de réunion, puis viennent les deux pièces maîtresse deux grands immeubles puis les rues se glissent dans la composition et enfin les pelouse et les jardins apparaissent et voila conclue le commentaire. Le film montre ensuite de réalisation de grands ensemble et on entre dans un immeuble au sein d'une famille : air et lumière sont au rendes-vous. On voit des enfants faire du patin à roulette dans le parc de l'immeuble la voix off annonce : finit l'individualisme renfrogné de l'échoppe d'antan : la cité tout entière est un jardin, les jeux d'enfants se mêlent aux fleurs. Le film se termine sur des vues de réalisation de grands ensemble sur toute la France (vue entre autre de la cité radieuse de Le Corbusier à Marseille). Production Films Caravelle MRU (ministère de la reconstruction et de l'urbanisme) Scenario et réalisation : Pierre JaLLAUD
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. Titre : Sur les routes de France les ponts renaissenT Année de réalisation : 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
Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : 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 ,
Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952.
Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. 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/ / - www.union-habitat.org/ / - www.institutfrancais.com/sites/default/files/dp_expositio... archives-histoire.centraliens.net/pdfs/revues/rev625.pdf tel.archives-ouvertes.fr/tel-00554230/document Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexion approfondie et originale sur la ville et sa nécessaire adaptation à la vie moderne, notamment Paris dont l'aménagement révolutionnaire rêvé par Le Corbusier est ici exposé. Un classique du documentaire.Les premiers projets de Le Corbusier resteront à l'état de maquette : le plan de modernisation de la ville d'Alger. Certains seront réalisés par d'autres architectes : ministère de l'éducation à Rio de Janeiro, Palais de l'ONU à New York. Dès l'après-guerre en moins de 10 ans, Le Corbusier réalise de grandes unités d'habitation à Marseille, Nantes une chapelle à Ronchamps, une usine à Saint-Dié, une ville Chandigarh en Inde. Par des schémas, l'architecte présente sa théorie de la "ville radieuse", le modulor clef mathématique de son œuvre ainsi que son projet de réorganisation de la campagne, des cités industrielles et urbaine en un regroupement autour d'un système coopératif. Le film expose les conceptions architecturales de Le Corbusier, dans la ligne des précurseurs de l'architecture moderne comme Claude-Nicolas Ledoux. Paris et le désert français 1957 réalisation : Roger Leenhardt et Sydney Jezequel, résoudre le déséquilibre démographique ville campagne www.dailymotion.com/video/x177lrp Film réalisé par Roger Leenhardt et Sydney Jezequel en 1957, d'après le livre de Jean-François Gravier. Document d'information général proposant les solutions de l'époque pour éviter la désertification des campagnes et la folie concentrationnaire des villes. Dès 1957, la désertification des campagnes prend des proportions tragiques. L'exemple est donné pour le village de Gourdon dans le Quercy.Quelles évolutions proposer pour éviter l'exode rural et le développement anarchique, qui s'amorce, des villes champignons, construites en plein champ sans urbanisme et sans âme ? Le commentaire propose les solutions de l'époque : modernisation de l'agriculture, adaptation de l'artisanat, implantations d'industries dans les provinces. Gazoducs dans le sud-ouest, barrage en Haute-Savoie, polder en Bretagne semblaient à l'époque pouvoir résoudre le déséquilibre ville campagne. Visages de la France 1957 Production - réalisation Atlantic-Film Marcel de Hubsch www.dailymotion.com/video/x19g59p Le film commence avec des vues de villages et d'architecture traditionnelle du Pays Basque, des Landes, de la Touraine, de la Normandie, de la Bretagne, d'Alsace. La voix off s'interroge : faut il transformer la France en un musée de ses vieilles demeures ? et poursuit : pourquoi des maisons de 10 à 15 mètres de hauteur à Honfleur n'ont elles que 3 à 5 mètres de large ? Le commentaire se pose la question du nombre de maisons individuelles dans les villes qui entrainent l'étalement urbain. Lorsque les villes ont bâtit des immeubles, le commentaire se demande que cachent ces façades ? Des coures étroites que le soleil ne visite jamais, un enchevêtrement inouï de constructions hétéroclites. L'époque de grande prospérité de la troisième république n'a rien su construire de grand poursuit la voix off. Ce document nous propose ensuite une animation de maquette pour l'aménagement d'une friche. Dans un premier temps à la façon d'avant avec la maison individuelle. La voix off s'exclame : ce n'est pas autrement que d'affreuses banlieues naquirent que tant de villes furent à jamais enlaidies, essayons autre chose. L'animation se met à empiler les maisons individuelles et propose des bâtiments collectifs dans des jardins. Le commentaire poursuit : maintenant c'est l'heure de l'urbaniste à lui de répartir les constructions dans la cité. Plusieurs organisation de logements collectifs sont proposées en maquettes. La voix off pointe les défauts d'un urbanisme des grands ensemble trop ennuyeux. Puis une solution émerge de l'animation : pour que la cité vive il faut mettre au place d'honneur école, dispensaire, bibliothèque, salle de réunion, puis viennent les deux pièces maîtresse deux grands immeubles puis les rues se glissent dans la composition et enfin les pelouse et les jardins apparaissent et voila conclue le commentaire. Le film montre ensuite de réalisation de grands ensemble et on entre dans un immeuble au sein d'une famille : air et lumière sont au rendes-vous. On voit des enfants faire du patin à roulette dans le parc de l'immeuble la voix off annonce : finit l'individualisme renfrogné de l'échoppe d'antan : la cité tout entière est un jardin, les jeux d'enfants se mêlent aux fleurs. Le film se termine sur des vues de réalisation de grands ensemble sur toute la France (vue entre autre de la cité radieuse de Le Corbusier à Marseille). Production Films Caravelle MRU (ministère de la reconstruction et de l'urbanisme) Scenario et réalisation : Pierre JaLLAUD
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. Titre : Sur les routes de France les ponts renaissenT Année de réalisation : 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 Transport
Lieux : 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 ,
Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952.
Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. 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/ / - www.union-habitat.org/ / - www.institutfrancais.com/sites/default/files/dp_expositio... archives-histoire.centraliens.net/pdfs/revues/rev625.pdf tel.archives-ouvertes.fr/tel-00554230/document .le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec
Iconic instance of "national romanticism", the nordic style that flourished around the same time (early 20th century) as Art Nouveau and Jugendstil in the rest of Europe.
Aleksis Kivi (1834-1872) was a Finnish writer who wrote the first significant novel in the Finnish language, Seitsemän veljestä (Seven Brothers), published in 1870. Although Kivi was among the very earliest writers of prose and lyrics in Finnish, he is still considered one of the greatest. Kivi is regarded as the national writer of Finland and his birthday, 10 October, is celebrated as Finnish Literature Day
In rust we trust @ Crewe Heritage Centre.Three is approximately π (actually closer to 3.14159) when doing rapid engineering guesses or estimates. The same is true if one wants a rough-and-ready estimate of e, which is actually approximately 2.71828.
Three is the first odd prime number,[1] and the second smallest prime. It is both the first Fermat prime (22n + 1) and the first Mersenne prime (2n − 1), the only number that is both, as well as the first lucky prime. However, it is the second Sophie Germain prime, the second Mersenne prime exponent, the second factorial prime (2! + 1), the second Lucas prime, and the second Stern prime.
Three is the first unique prime due to the properties of its reciprocal.
Three is the aliquot sum of 4.
Three is the third Heegner number.
According to Pythagoras and the Pythagorean school, the number 3, which they called triad, is the noblest of all digits, as it is the only number to equal the sum of all the terms below it, and the only number whose sum with those below equals the product of them and itself.[2]
Three is the second triangular number and it is the only prime triangular number. Three is the only prime which is one less than a perfect square. Any other number which is n2 − 1 for some integer n is not prime, since it is (n − 1)(n + 1). This is true for 3 as well (with n=2), but in this case the smaller factor is 1. If n is greater than 2, both n − 1 and n + 1 are greater than 1 so their product is not prime.
Three non-collinear points determine a plane and a circle.
Three is the fourth Fibonacci number. In the Perrin sequence, however, 3 is both the zeroth and third Perrin numbers.
Three is the fourth open meandric number.
Vulgar fractions with 3 in the denominator have a single digit repeating sequences in their decimal expansions, (.000..., .333..., .666...)
A natural number is divisible by three if the sum of its digits in base 10 is divisible by 3. For example, the number 21 is divisible by three (3 times 7) and the sum of its digits is 2 + 1 = 3. Because of this, the reverse of any number that is divisible by three (or indeed, any permutation of its digits) is also divisible by three. For instance, 1368 and its reverse 8631 are both divisible by three (and so are 1386, 3168, 3186, 3618, etc.). See also Divisibility rule. This works in base 10 and in any positional numeral system whose base divided by three leaves a remainder of one (bases 4, 7, 10, etc.).
3 is the smallest prime of a Mersenne prime power tower: 3, 7, 127, 170141183460469231731687303715884105727; it is not known whether any more of the terms are prime.
Three of the five regular polyhedra have triangular faces — the tetrahedron, the octahedron, and the icosahedron. Also, three of the five regular polyhedra have vertices where three faces meet — the tetrahedron, the hexahedron (cube), and the dodecahedron. Furthermore, only three different types of polygons comprise the faces of the five regular polyhedra — the triangle, the quadrilateral, and the pentagon.
There are only three distinct 4×4 panmagic squares.
Only three tetrahedral numbers are also perfect squares.
The first number, according to the Pythagoreans, and the first male number.
The first number, according to Proclus, i.e. n2 is greater than 2n.
The trisection of the angle was one of the three famous problems of antiquity.
3 is the second triangular number.
Gauss proved that every integer is the sum of at most 3 triangular numbers.
Gauss proved that for any prime number p (with the sole exception of 3) the product of its primitive roots is ≡ 1 (mod p).
Any number not in the form of 4n(8m+7) is the sum of 3 squares.
see portarthur.org.au/ for tours..see a nice pano here...
upload.wikimedia.org/wikipedia/commons/f/f2/Port_Arthur_P...
and Wikipedia.. en.wikipedia.org/wiki/Port_Arthur%2C_Tasmania
Port Arthur is a town and former convict settlement on the Tasman Peninsula, in Tasmania, Australia. It is located approximately 97 kilometres (60 mi) southeast of the state capital, Hobart.
The site forms part of the Australian Convict Sites, a World Heritage property consisting of 11 remnant penal sites originally built within the British Empire during the 18th and 19th centuries on fertile Australian coastal strips. Collectively, these sites, including Port Arthur, are described by UNESCO as "... the best surviving examples of large-scale convict transportation and the colonial expansion of European powers through the presence and labour of convicts."[3]
In 1996, the town was the scene of the Port Arthur massacre, the worst instance of mass murder in post-colonial Australian history.
History
Penitentiary and Mount Arthur, Tasmania, ca. 1880, by Anson Brothers
Port Arthur was named after George Arthur, the lieutenant governor of Van Diemen's Land. The settlement started as a timber station in 1830, but it is best known for being a penal colony.
Penal colony
The Port Arthur convict settlement was established in September 1830 as a timber-getting camp, producing sawn logs for government projects. From 1833 until 1877, it was the destination for those deemed the most hardened of transported convicts ― so-called "secondary offenders" ― who had persistently re-offended during their time in Australia. The recalcitrant offenders were sent to Port Arthur, which had some of the strictest security measures in the British penal system but was, nevertheless, also based on the idea that prisoners could be reformed while still being punished.[4]
Treatment of prisoners
Interior of Model Chapel, Port Arthur, Tasmania, ca. 1880, by Anson Brothers
Port Arthur was an example of the "Separate Prison Typology" (sometimes known as the model prison), which emerged from Jeremy Bentham's theories and his panopticon.[5] The prison was completed in 1853, and extended in 1855. The layout was fairly symmetrical. It was in a cross shape with exercise yards at each corner. The prisoner wings were each connected to the surveillance core of the prison, as well as the chapel in the centre hall.[6] From the surveillance hub, each wing could be clearly seen, although individual cells could not. In that way, the Separate Prison at Port Arthur differed from the original theory of the panopticon.[5]
The Separate Prison System also signalled a shift from physical punishment to psychological punishment. The hard corporal punishment, such as whippings, used in other penal stations, was thought to only serve to harden criminals, and did nothing to turn them from their immoral ways. For example, food was used to reward well-behaved prisoners and as punishment for troublemakers. As a reward, a prisoner could receive larger amounts of food or even luxury items such as tea, sugar, and tobacco. As punishment, the prisoners would receive the bare minimum of bread and water.[7] Under this system of punishment, the "Silent System" was implemented in the building. Here, prisoners were hooded and made to stay silent; this was supposed to allow time for the prisoner to reflect upon the actions which had brought him there. Many of the prisoners in the Separate Prison developed mental illness from the lack of light and sound. This was an unintended outcome, although the asylum was built next to the Separate Prison. In many ways, Port Arthur was the model for the penal reform movement, despite the shipping, housing, and use of convicts as slave-labour being as harsh, or worse, than other institutions around the nation.
Tourism development
"Ruins Of The Old Penal Settlement At Port Arthur, Tasmania", article from Weekly Times, 1919
Before Port Arthur was abandoned as a prison in 1877, some people saw the potential tourist attraction. David Burn, who visited the prison in 1842, was awed by the peninsula's beauty and believed that many would come to visit it.[19] This opinion was not shared by all. For example, Anthony Trollope in 1872 declared that no man desired to see the "strange ruins" of Port Arthur.[19]
After the prison closed, much of the property was put up for auction. However, most of the property was not sold until 1889.[19] By this time, the area had become increasingly popular and the prison buildings were in decay. As the Hobart Mercury proclaimed, "the buildings themselves are fast going to decay, and in a few years will attract nobody; for they will be ruins without anything to make them worthy of respect, or even remembrance.[19]" The Model Prison was purchased by Anglican church minister and politician Joseph Woollnough, who operated tours and donated the proceeds to the church.[20][21]
The decay was seen as something positive, as the Tasmanian population wished to distance themselves from the dark image of Port Arthur. Those who bought Port Arthur property began tearing down the buildings,[19] the destruction was furthered by the fires of 1895 and 1897, which destroyed the old prison house, and earth tremors.[19]
In place of the Prison Port Arthur, the town of Carnarvon was born. The town was named after the British Secretary of State and the population was said to be "refined and intellectual".[19] The town brought in many visitors as they encouraged boating, fishing, and shooting in the natural beauty of the peninsula. They again wished to remove the negative connotation attached to the area.[19]
Despite this wish, the haunting stories of Port Arthur prisoners and circulating ghost stories brought popularity to the remaining prison ruins. This was helped by the popular novels For the Term of His Natural Life (1874) by Marcus Clarke and The Broad Arrow (1859) by Caroline Leakey, which concerned themselves about convicts in Port Arthur.[19]
Port Arthur, Tasmania as a tourist place
In 1927, tourism had grown to the point where the area's name was reverted to Port Arthur. In 1916, the Scenery Preservation Board (SPB) was established to take the management of Port Arthur out of the hands of the locals. By the 1970s, the National Parks and Wildlife Service began managing the site.
In 1979, funding was received to preserve the site as a tourist destination, due to its historical significance. The "working" elements of the Port Arthur community, such as the post office and municipal offices, were moved to nearby Nubeena. Several sandstone structures, built by convicts working under hard labour conditions, were cleaned of ivy overgrowth and restored to a condition similar to their appearance in the 19th century. Buildings include the "Model Prison", the Guard Tower, the Church, and the remnants of the main penitentiary. The buildings are surrounded by lush, green parkland. The graves on the Isle of the Dead also attract visitors.[22]
Point Puer, across the harbour from the main settlement, was the site of the first boys' reformatory in the British Empire. Boys sent there were given some basic education, and taught trade skills.[23]
Conservation management
Since 1987, the site has been managed by the Port Arthur Historic Site Management Authority,[24] with conservation works funded by the Tasmanian government and the admission fees paid by visitors. Volunteer groups have been working at the building sites of Point Puer to help researchers gain a better understanding of the history of the boys' prison.
The World Heritage Committee of UNESCO inscribed the Port Arthur Historic Site and the Coal Mines Historic Site onto the World Heritage Register on 31 July 2010, as part of the Australian Convict Sites World Heritage property.[3] Port Arthur is one of Australia's most visited historical sites, receiving over 250,000 visitors each year.[25]
The Colosseum or Coliseum (/kɒləˈsiːəm/ kol-ə-SEE-əm), also known as the Flavian Amphitheatre (Latin: Amphitheatrum Flavium; Italian: Anfiteatro Flavio [aŋfiteˈaːtro ˈflaːvjo] or Colosseo [kolosˈsɛːo]), is an oval amphitheatre in the centre of the city of Rome, Italy. Built of travertine, tuff, and brick-faced concrete, it is the largest amphitheatre ever built. The Colosseum is situated just east of the Roman Forum. Construction began under the emperor Vespasian in AD 72, and was completed in AD 80 under his successor and heir Titus. Further modifications were made during the reign of Domitian (81–96). These three emperors are known as the Flavian dynasty, and the amphitheatre was named in Latin for its association with their family name (Flavius).
The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, having an average audience of some 65,000; it was used for gladiatorial contests and public spectacles such as mock sea battles (for only a short time as the hypogeum was soon filled in with mechanisms to support the other activities), animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although partially ruined because of damage caused by earthquakes and stone-robbers, the Colosseum is still an iconic symbol of Imperial Rome and is listed as one of the New 7 Wonders of the World. It is one of Rome's most popular tourist attractions and also has links to the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheatre. The building was constructed by emperors of the Flavian dynasty, following the reign of Nero.]This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum (with Caesareum an adjective pertaining to the title Caesar), but this name may have been strictly poetic as it was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby (the statue of Nero was named after the Colossus of Rhodes).[citation needed] This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world"). This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as Coloseumul (Romanian), le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
A map of central Rome during the Roman Empire, with the Colosseum at the upper right corner
The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.
Cross-section from the Lexikon der gesamten Technik (1904)
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. Vespasian's decision to build the Colosseum on the site of Nero's lake can be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both symbolically and precisely at the heart of Rome.
Construction was funded by the opulent spoils taken from the Jewish Temple after the Great Jewish Revolt in 70 AD led to the Siege of Jerusalem. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." Along with the spoils, estimated 100,000 Jewish prisoners were brought back to Rome after the war, and many contributed to the massive workforce needed for construction. The slaves undertook manual labor such as working in the quarries at Tivoli where the travertine was quarried, along with lifting and transporting the quarried stones 20 miles from Tivoli to Rome.[17] Along with this free source of unskilled labor, teams of professional Roman builders, engineers, artists, painters and decorators undertook the more specialized tasks necessary for building the Colosseum.
Construction of the Colosseum began under the rule of Vespasian in around 70–72 AD (73-75 AD according to some sources) The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished by his son, Titus, in 80, and the inaugural games were held in A.D. 80 or 81. Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. Commemorative coinage was issued celebrating the inauguration.The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[20]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. Gladiatorial fights are last mentioned around 435. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[21] and 508. The arena continued to be used for contests well into the 6th century. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.[16]
Medieval
Map of medieval Rome depicting the Colosseum
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small chapel had been built into the structure of the amphitheater, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvial terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century [22] and continued to inhabit it until as late as the early 19th century. The interior of the amphitheater was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[16] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
Modern
The Colosseum in a 1757 engraving by Giovanni Battista Piranesi
1747 view by Giovanni Paolo Panini, emphasizing the semi-rural environs of the Colosseum at the time
During the 16th and 17th century, Church officials sought a productive role for the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[23] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
Allied troops consult a guidebook outside the Colosseum after liberation in 1944
In 1749, Pope Benedict XIV endorsed the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Significance in Christianity). However, there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone before the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition, other than the reasonably plausible conjecture that some of the many martyrs may well have been.[24]
Interior of the Colosseum, Rome (1832) by Thomas Cole, showing the Stations of the Cross around the arena and the extensive vegetation
Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.[16]
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices).
In recent years the Colosseum has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the colour of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[25] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold in November 2012 following the abolishment of capital punishment in the American state of Connecticut in April 2012.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[27] Paul McCartney (May 2003),[28] Elton John (September 2005),[29] and Billy Joel (July 2006).
The Colosseum today as a background to the busy metropolis
Physical description
Exterior
Original façade of the Colosseum
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 24,000 square metres (6 acres). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic metres (3,531,467 cubic feet) of travertine stone which were set without mortar; they were held together by 300 tons of iron clamps.[16] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The exterior of the Colosseum, showing the partially intact outer wall (left) and the mostly intact inner wall (center and right)
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Doric, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters. Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[4] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[
Entrance LII of the Colosseum, with Roman numerals still visible
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators. Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) survive.
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior seating
The raked areas that once held seating
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebeians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.[16]
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.[32]
Arena and hypogeum
The Colosseum arena, showing the hypogeum now filled with walls. The walls were added early in the Colosseum's existence when it was decided it would no longer be flooded and used for naval battles.
Latin inscription in the Colosseum
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[16] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). The hypogeum was not part of the original construction but was ordered to be built by Emperor Domitian. Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[16]
Detail of the hypogeum
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[16]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[16] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct. However, the construction of the hypogeum at Domitian's behest put an end to the practise of flooding, and thus also to naval battles, early in the Colosseum's existence.
Supporting buildings
The Colosseum – a view from the Oppian Hill
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
Use
Pollice Verso (Thumbs Down) by Jean-Léon Gérôme, 1872
The Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, Barbary lions, panthers, leopards, bears, Caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days. During lunch intervals, executions ad bestias would be staged. Those condemned to death would be sent into the arena, naked and unarmed, to face the beasts of death which would literally tear them to pieces. Other performances would also take place by acrobats and magicians, typically during the intervals.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor, and animals would then be introduced. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story – played by a condemned person – was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
Today
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year entering to view the interior arena.[33] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI led the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum on Good Fridays.
Restoration
In 2011 Diego Della Valle, head of the shoe firm Tod's, entered into an agreement with local officials to sponsor a €25 million restoration of the Colosseum. Work was planned to begin at the end of 2011, taking up to two and a half years. Due to the controversial nature of using a public–private partnership to fund the restoration, work was delayed and began in 2013. The restoration is the first full cleaning and repair in the Colosseum's history.[38] The first stage is to clean and restore the Colosseum's arcaded façade and replace the metal enclosures that block the ground-level arches. Taking three years, the final product of this work was unveiled July 1, 2016, when the Italian minister of culture, Dario Franceschini, also announced that the funds have been committed to replace the floors by the end of 2018. These will provide a stage that Franceschini says will be used for "cultural events of the highest level." The project also plans to create a services center and to restore the galleries and underground spaces inside the Colosseum.. New to tours of the restored marvel beginning November 1, 2017, the top two levels have been opened for guided visits. The fourth level held the marketplace, and the top fifth tier is where the poorest citizens, the plebians, gathered and watched the show, bringing picnics for the day-long event.
Significance in Christianity
The Colosseum is generally regarded by Christians as a site of the martyrdom of large numbers of believers during the persecution of Christians in the Roman Empire, as evidenced by Church history and tradition.On the other hand, other scholars believe that the majority of martyrdoms may have occurred at other venues within the city of Rome, rather than at the Colosseum, citing a lack of still-intact physical evidence or historical records. These scholars assert that "some Christians were executed as common criminals in the Colosseum—their crime being refusal to reverence the Roman gods", but most Christian martyrs of the early Church were executed for their faith at the Circus Maximus.[48][49] According to Irenæus (died about 202), Ignatius of Antioch was fed to the lions in Rome around 107 A.D and although Irenaeus says nothing about this happening at the Colosseum, tradition ascribes it to that place.
In the Middle Ages, the Colosseum was not regarded as a monument, and was used as what some modern sources label a "quarry,"[54] which is to say that stones from the Colosseum were taken for the building of other sacred sites.[55] This fact is used to support the idea that, at a time when sites associated with martyrs were highly venerated the Colosseum was not being treated as a sacred site.[56] It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius – but not the Colosseum – as the site of martyrdoms. Part of the structure was inhabited by a Christian religious order, but it is not known whether this was for any particular religious reason.
Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs, although some of his contemporaries did not share his conviction.A century later Fioravante Martinelli listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra. Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary.
Cross dedicated to the Christian martyrs, placed in 2000 by Pope John Paul II.
At the insistence of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, before he died in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains its Christian connection today. A Christian cross stands in the Colosseum, with a plaque, stating:
The amphitheater, one consecrated to triumphs, entertainments, and the impious worship of pagan gods, is now dedicated to the sufferings of the martyrs purified from impious superstitions.
Other Christian crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheater.
Flora
Plants on the inner walls of the Colosseum
The Colosseum has a wide and well-documented history of flora ever since Domenico Panaroli made the first catalogue of its plants in 1643. Since then, 684 species have been identified there. The peak was in 1855 (420 species). Attempts were made in 1871 to eradicate the vegetation, because of concerns over the damage that was being caused to the masonry, but much of it has returned. 242 species have been counted today and of the species first identified by Panaroli, 200 remain.
The variation of plants can be explained by the change of climate in Rome through the centuries. Additionally, bird migration, flower blooming, and the growth of Rome that caused the Colosseum to become embedded within the modern city centre rather than on the outskirts of the ancient city, as well as deliberate transport of species, are also contributing causes. Another reason often given is their seeds being unwittingly transported either on the fur or in the faeces of animals brought there from all corners of the empire.
Works modeled on, or inspired by, the Colosseum
The Kongresshalle, or "Congress Hall", (1935, unfinished) at the Nazi Party Rally grounds, Nuremberg, Germany
The Summer Olympic Games medal from 1928 to 2000, designed by Giuseppe Cassioli, features a depiction of the Colosseum. At the 2004 Summer Olympics in Athens the Colosseum was replaced by a depiction of the Panathinaiko Stadium
The exterior of the Vancouver Public Library in British Columbia resembles the current state of the Colosseum. It was designed by Moshe Safdie.
The Los Angeles Memorial Coliseum entrance was inspired by the Colosseum.
The Palazzo della Civilta Italiana was very closely modelled on the Colosseum. It was built for Mussolini for the Universal Exhibition of 1942 but the exhibition never happened due to the outbreak of World War II. The architects were Giovanni Guerrini, Ernesto Bruno La Padula, and Mario Romano.
McCaig's Tower, overlooking Oban, Scotland.
This list is incomplete; you can help by expanding it.
Popular culture references
The Colosseum was featured in the 2010 video game Assassin's Creed: Brotherhood. The Colosseum is of great importance to the entire Assassin's Creed series as a whole: first, it was an entrance site to a Lair of Romulus, second, the Lair beneath the Colosseum led directly to the Temple of Juno Moneta which housed the Apple of Eden, third, it was used in a Passion Play depicting Jesus Christ's crucifixion where an assassination attempt was unfoiled by the protagonist Ezio Auditore da Firenze, fourth, in the 21st century, Desmond Miles freeran through the maze in the Colosseum in order to find the Temple of Juno Moneta below the Basilica of Santa Maria in Ara Coeli and the Apple kept in it by Ezio in 1506 and fifth, it has a glyph at the top.[62] In addition, the Colosseum is elliptical (oval-shaped) in reality, but it was made circular for Assassin's Creed: Brotherhood, since devising shadows for different sides of the buildings would have "driven game designers nuts".[63]
The iconic status of the Colosseum has led it to be featured in numerous films, such as Roman Holiday, Demetrius and the Gladiators, 20 Million Miles to Earth, Way of the Dragon, Gladiator (in which it was re-created via CGI), Megiddo: The Omega Code 2, The Core, The Lizzie McGuire Movie, Jumper, and the animated movie Madagascar 3: Europe's Most Wanted.
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Refugiados ("Refugees") is a monument and instance of public art in Madrid, Spain. Located at a water pond of the Paseo de Recoletos, it is dedicated to migrants and refugees.
History and description
The idea for the erection of a monument to immigrants and refugees was passed by the government board presided by Manuela Carmena in 2018. According to municipal government spokesperson Rita Maestre, it was a way to convey the recognition that refugees and immigrants "have built the city of Madrid".
Designed by Brazilian artist Bel Borba, the project was an adaptation of the author's work Homage to Migrants (presented to the Biennale de Montreux exposition at Lake Geneva), repurposed to fit a location at one of the water ponds of the Paseo de Recoletos, featuring a 180 x 100 x 180 cm concrete block with veins of granite, over which the bronze ensemble would stand. The 960 kg bronze sculptural ensemble consists of 16 seated figures, male and female alike—some of them carrying babies—wearing life vests while waiting for assistance.
The works on the installment of the monument started on 13 May 2019.
Wikipedia
Character Creation
Garth Ranzz, also known as Live Wire and Lightning Lad, is a superhero appearing in media published by DC Comics, usually those featuring the Legion of Superheroes, a 30th and 31st century group of which he is a founding member.[1] He has the superhuman ability to generate electricity, usually in the form of lightning bolts.
Garth Ranzz as Lightning Lad has appeared in various media outside comics, primarily those featuring the Legion of Super-Heroes. He is voiced by Andy Milder in Legion of Super Heroes (2006) and portrayed by Calum Worthy in Smallville.
The character first appeared in Adventure Comics #247 (April 1958), and was created by Otto Binder and Al Plastino.
Character History
Garth Ranzz was born on the agricultural world of Winath with his twin, Ayla. Garth, Ayla, and their older brother Mekt were joy riding when their ship lost power and came down on the world of Korbal. They devised a scheme to recharge their ship's energy cells using the electrical energy of Korbal's lightning beasts. They underestimated the beasts' power and were all bathed in bio-electric energy. After their return with new found powers, Mekt disappeared.
Garth left home to look for his brother. On his journey he helped two other super powered teenagers foil the assassination of philanthropist R.J. Brande. Brande suggested they form a team - the Legion of Super-Heroes. Garth assumed the name Lightning Boy initially, but switched to Lightning Lad.
Original Continuity: New Earth
He was one of the first Legionnaires to be killed when he sacrificed his life to save Saturn Girl, taking a blast from Zaryan the Conqueror's ship. He was resurrected by Proty, the shape shifting pet of Chameleon Boy, who sacrificed his life to revive Garth in a lightning ceremony. Later, Garth lost his right arm to a giant space whale, and had to get a cybernetic replacement. Years later, his parents were killed in a space cruiser accident. His years on the Legion weren't all bad.
He formed close friendships with Cosmic Boy** and Sun Boy and he and Saturn Girl became one of the Legion's earliest couples following his resurrection. His sister joined the Legion as well. Though Garth lost his arm, it was eventually restored. After several years of dating, Lightning Lad proposed to Saturn Girl and she accepted.*
Reboot: Earth-247
In his search for his brother Mekt he had been branded a runaway due to only being 14, which was a minor on Winath. When his sister arrived to join the Legion as Winath's official representative, Garth quit in shame. He went on to work for the industrialist Leland McCauley on his Workforce team. Garth had hoped to make some money to look for his brother, but quit the team soon after due to McCauley's lack of morals.
Despite aiding the Legion against Daxamite terrorists, Garth was still not allowed to rejoin, so he went off again to find his brother. When he found Mekt, his mind had snapped, and he was a deadly criminal. Mekt abducted Garth and shot his right arm off. After recovering from his battle with Mekt and gaining a cybernetic arm, Garth worked with a newly formed Espionage Squad to uncover the corruption of President Chu.
She was impeached, and Brande was made president in her place. His first act as President was to eliminate the membership restrictions on the Legion, finally allowing Garth to rejoin.
Threeboot: Earth-Prime
On Earth-Prime, Garth Ranzz was Lightning Lad once more and one of the founders of the Legion of Super-Heroes. They were now a teen youth movement and Garth coined their first battle cry: "Eat it, Grandpa!" He was dating Saturn Girl, and said that the only way to successfully date a telepath was to be "way honest." He was instrumental in gaining legal status for the Legion, but forgot to read the fine print in the agreement - the U.P. now had the right to use the Legion's image in any way they wished.
When Cosmic Boy disappeared after the Dominators attempted to take over Earth, a public election was held for Legion leadership. Supergirl was elected with Lightning Lad her deputy. She soon left for the 21st century and Garth became the team leader. Garth was quickly overwhelmed with the responsibilities of leadership, especially dealing with the various organizations of the United Planets.
This put a strain in he and Saturn Girl's relationship which led her to have a psychic affair. She confessed the indiscretion and Garth broke up with her.
Retroboot: New Earth
Infinite Crisis restored the original Legion continuity from before Five Years Later. Garth was once again married to Saturn Girl and a father to twin sons, though he ultimately rejoined the Legion when Earth-Man began an anti-alien campaign on Earth.
The Legion founders went to the Batcave to find proof that Superman was actually a Kryptonian and not an Earthling like Earth-Man was leading the people to believe, but Garth and the others were captured. Eventually he was freed and Earth-Man was defeated. After Saturn Girl's homeworld of Titan was destroyed and their twin boys were kidnapped but recovered from a servant of Darkseid, Garth and Imra decide to take a leave of absence from the Legion to spend time with their boys.
Post-Flashpoint: Earth-0
Following the conclusion of Flashpoint, the various timelines were united and rebooted once again. The Legion's timeline changed slightly where they still reached out to a young Clark Kent long before he became Superman, but they Legion grew up along with Clark and have changed their names to reflect their age.
Imra changed her name to Saturn Woman and her along with Saturn Girl (Now Saturn Woman) and Cosmic Boy (Now Cosmic Man) reunited with an adult Clark Kent in an effort to stop the Anti-Superman army from destroying the original rocket that took Clark to Earth. They succeeded in saving the rocket and keeping he timeline intact.
During the battle, Garth's right arm was apparently destroyed off-panel. The wires seen in its place indicate that he had already replaced it with a cybernetic arm akin to the Earth-247 version.
DC Rebirth
Lightning Lad reappears once again as a founding member of the Legion Of Superheroes
Major Story Arcs
Original Continuity: New Earth - Married Life
Garth and Imra were married and were forced to leave the Legion by its own by-laws, but this was shortly thereafter vetoed and the couple returned to active duty. Garth was even elected leader at one point, but the stress became too much and he resigned before the end of his term. Imra became pregnant and gave birth to a healthy baby boy, Graym Ranzz.
Wanting to spend more time with his young family, Garth resigned with his fellow Legion founders from the team. Though it was a horror to learn that the villainous Validus was actually his son's twin, thrust through time and manipulated by Darkseid, the boy was eventually restored and returned to the Ranzzes. Even after Saturn Girl returned to active duty, Garth remained at home with his sons.
Five Years Later
Following the five years later after the Magic Wars, Garth had relocated his family to Winath. There they established the Lightning Plantation and became a successful farming and shipping collective. Tragedy struck when Garth's son Garridan, the former Validus, began infecting Winathians with a deadly plague.
His son had to be taken off-world to the planet Quarantine and could only visit wearing a special suit. The disease also caused Garth to walk with a limp. However, good news soon followed.
Imra became pregnant again with twins and the Legion of Super-Heroes was reforming. Though the Ranzzes didn't join back up, they did assist their old teammates from time to time and Garth even gave them an old storage facility on Talus to use as a headquarters.
Who is Garth?
Shortly after his daughters Dacey and Dorritt were born, his sister Ayla stumbled upon a secret that Garth had been keeping: he wasn't Garth at all, but Proty. Proty's consciousness had been transferred into Garth's body and was the cause of Lightning Lad's resurrection. Being a former telepath as Proty, Garth was able to protect his thoughts from his telepathic wife about the matter.
Garth assisted Legionnaires past and present in hunting down Glorith and Mordru to save Cosmic Boy. Zero Hour then happened and Garth and the other Legionnaires sacrificed themselves to save the timestream and create a new reality.
Reboot: Earth-247 - The Death of Garth
When half the Legion was stuck in the 20th century, Brande personally asked Garth to become Legion leader. Live Wire wasn't comfortable with the idea and shortly thereafter hosted a leadership election for a replacement. Once the team was reunited, he began a relationship with Saturn Girl and ultimately proposed. Garth and Imra were one of several Legionnaires lost in a spatial rift. Saturn Girl's manipulation of the team put a strain on their relationship. Live Wire sacrificed himself fighting their former teammate, Element Lad, who had spent billions of years becoming a mad god.
Garth's Body Restored
Garth's spirit, however, was stored in the living crystals of Element Lad's corpse, and he was able to return to the Legion - but in Element Lad's body. This caused a lot of anxiety among the Legion, but eventually his friends came to accept Garth. When Earth-247 was destroyed in Infinite Crisis, Garth and his team survived because they had been lost in the timestream. Garth's original body was eventually restored when the Brainiac 5 of New Earth used a special lightning rod to help Garth transmute himself to normal. He then rejoined his team as they pushed into the multiverse as the new Wanderers.
Powers & Abilities - Electricity Control
Lightning Lad has the ability to generate electricity and direct bolts of electricity accurately. Lightning Lad can use his power destructively, such as to short-circuit electrical items, split boulders, burn objects with precision or shatter walls. He can also reduce the force of his bolts so that they will only stun. He can send his electricity through conductive metals. He has a degree of immunity to electrical charge; in fact, they give him more strength to use his power. In some instances he has a robotic right arm that is powered by his lightning power.
Equipment
As a member of the Legion of Super-Heroes, Lightning Lad possesses a Legion Flight Ring. The ring gives its wearer the ability to fly, the speed and range of which is determined by the wearer's willpower. It also acts as a long-range communicator (enabling constant vocal contact with other Legionnaires, even across vast distances of space), a signal device, and a navigational compass, all powered by a micro-computer built inside the ring.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
_____________________________
A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: Garth Ranzz
Publisher: DC
First Appearance: Adventure Comics #247 (April 1958)
Created by: Otto Binder (Writer)
Al Plastino (Artist)
* Saturn Girl seen in BP 2021 Day 239!
www.flickr.com/photos/paprihaven/51406326508/
** Cosmic Boy seen in BP 2022 Day 364!
Copenhagen ULTRACONTEMPORARY Biennale / periode Venice Biennale 2019
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale in Venice :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
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#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography!
An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!
Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)
You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/
And follow me on instagram! @45surf
Facebook!
www.facebook.com/elliot.mcgucken
Dr. Elliot McGucken Fine Art Photography!
I love shooting fine art landscapes and fine art nature photography! :) I live for it!
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
Beautiful magnificent clouds!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!
Cameroon. Children walk to school in the morning in the town of Yoko.
Background:
A 200-kilometre road (124 miles) project stretches between the townships of Batschenga, Ntui and Yoko, in central Cameroon. The road crosses farms, forests, water bodies and pastoral areas that sustain the mostly agrarian economy of nearly 40 villages and three towns.
The road, a basic infrastructure that many countries take for granted, literally shapes the lives and livelihood of the people living along it. It decides whether a small entrepreneur will get her products transported on time, and at what cost, and whether more people will come to a restaurant that another has invested in. It determines what markets a woman farmer can access and how often a working mother can visit her daughter who is studying in the city. The red dirt road, waiting for asphalt, will determine if food, income, job, healthcare, livelihood will come, when, and to whom.
UN Women’s “Gender Road Project”, funded by The Development Bank of Central African States and the Government of Cameroon, is aiming to reach at least 20,000 women by 2020, living in rural communities along this road, to prepare them for a better future and access to bigger markets once the road is built. The project teaches them financial and entrepreneurial skills, improved farming techniques and facilitates their access to public services and land rights.
When public services are inaccessible, it penalizes the poorest of the poor.
An estimated 3,000 children living in communities along the road project do not have birth certificates. Since many women don’t give birth in hospitals, a child doesn’t get immediately registered at birth. Getting a birth certificate later is a long and expensive process. It can take up to a year and cost 60,000 CFA franc (USD 104) per child, which very few can afford.
Without a birth certificate, children cannot sit for the public examinations, graduate from primary school and join secondary or higher education. They also cannot get national identity cards which are required to access other public services. The UN Women Gender Road Project has helped 200 children get their birth certificates within a year, and 155 more are in the process.
The UN Women project has helped 200 children get their birth certificates within a year, and 155 more are in the process.
Odette Bienel, a community worker with the UN Women project, explains that because they didn’t have birth certificates, most girls didn’t go to school or dropped off at the primary level. “This in turn caused a lot of teenage pregnancy and early marriage. We identified how many children needed birth certificates. Then we did advocacy with the different administrative units responsible for issuing a birth certificate—the hospitals, the council and the courts for example—to simplify the process and to reduce the cost. For instance, when a family cannot attend all the public hearings, we negotiated with the authorities to allow the chief of the village to attend them on behalf of the families.”
The local council has agreed to subsidize the cost of getting a certificate and now each parent has to pay only 3,000 CFA franc (USD 5) per child.
Photo: UN Women/Ryan Brown
Read More: www.unwomen.org/en/news/stories/2019/3/feature-story-came...
Boeing depends upon taxpayer dollars more than most corporations.
See for instance:
The top welfare recipient of them all is aerospace giant Boeing, which has operations spread all across the country building aircraft and working on numerous Department of Defense projects. The amount of work Boeing does for the federal government no doubt plays a part in the amount of subsidies the company has been able to secure, but Boeing has also played hardball with local jurisdictions to get enormous tax breaks. With more than $13 billion coming in from 148 handouts, Boeing has thoroughly entrenched itself in the interest of the government and taxpayers.
Despite the immense amount of money the company receives, it has still gone on to hold cities hostage in tax negotiations, threatening to remove jobs and open up shop in friendlier climates. In 2013, Boeing secured the highest ever tax break at the state level when it cornered the Washington legislature into ceding to its demands, lest it move its production plants to another part of the country. The legislature granted Boeing its wish, but Boeing went on to announce drastic layoffs anyway, angering many locals.
Boeing has become the king of corporate handouts, and other corporations have a long way to go to catch up.
via
www.cheatsheet.com/money-career/high-on-the-hog-the-top-8...
Merchant /art dealer vs Paul Jaisini"
Merchant:
-How different are you from any other artists? For instance we will pay you a million dollars for your invisible art. Your invisible art is an instrument to realize your American dream. You belong to the same social structure as everyone else, using the same money and eating the same food. All you want is to over-smart the others.
Paul Jaisini:
-"Yes, I would take your million dollars, — is the answer. – So that there will be the next artist who will want to take a million dollars by the means of Invisible art. And this how the new art begins. This is how I turn your million dollars into the Invisible Million dollars. This is how the people will follow me because they had survived the devaluation of currency, the devaluation of the social systems as they had exploded with the end of human morality When the people were left without spiritual meaning in their life except the material survival.
The Material morality is the one to finally bankrupt what is known as the civilized world.
The promises of the new better era that will start in 2000 hadn’t come true. And it only got worse. The beginning of the end, if you will, when the morality was traded for the material values once and for all.
The beginning of my invisible painting is like a revolutionary pamphlet with a slogan “bring down the king.”
Why a true artist needs money? To buy time otherwise he can’t create the invisible painting.
He sells himself as a prostitute and no longer thinks of the aspirations to achieve the invisible masterpiece.
He had lost what was the original drive — his unique idea of creation. Now he is given the idea, what to paint, how to paint and get paid for it. If the artist refuses to commit to the social needs and what the society wants of him, he simply dies, ousted from the marketplace.
Your million dollars helps to make the big-time Invisible art.
For some people Invisible art is same as Communism, it destroys the material values these people possess. The diamonds turn into glass, the gold — simple metal. Nobody needs the old values when the Invisible painting had changed the perception."
[rare documented online conversation with Paul Jaisini - date unknown)]
Press: hudsonreporter.com/view/full_story/20838118/article-Showi...
Jose and Mirea were from Barcelona, Spain, while their daughter was born in the US. Their studio was on the 5th floor at 111, right beside Nancy Wells' studio. The daughter is in the background.
111 first street. From Paris to Jersey City, They Showed No Love.
a Branko Documentary Film
In the area of Jersey City NJ, for about 20 years, existed a warehouse building where artists had about 130 art studios. The artists left in 2005 and the building was demolished in 2007.
This movie only deals with the art, presented by the artists.
This documentary is a historical document of a very important part of Art in America.
Screening on:
2-23-2012
1:00 PM
Jersey City Library
Biblioteca Criolla, 4th. Floor
472 Jersey Avenue
Jersey City, NJ 07302
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
For instance if i slowley Lick my lips and get them all moist, then you wont be able to resist sliding your cock between them and into my warm wet mouth.
Thank you for taking the time to look at, comment on, and fave my photographs.
"Smile, it is the key that fits the lock of everybody's heart." - Anthony J. D'Angelo
When Hannah Do and I discussed at the beginning of the year our fundraising goal for 2019, we decided to seek to raise the same amount as the previous year, $5,000. The proceeds would be donated to the Center for Innocent Children and benefit children that have been abandoned by their families or orphaned. We didn’t want to disappoint anyone by setting a target we couldn’t achieve and agreed to revisit things should the fundraiser go better than anticipated.
Never did we imagine that, thanks to your generosity, we would be meeting our goal within three months. To all of our friends, colleagues, family, and generous souls who contributed to this fundraiser, “cảm ơn”. Your willingness to help is making all the difference in the lives of these deserving children. For instance, Annie Nguyen is planning to visit the Center this month and meet Vu Nguyen Hong Ngoc as they share the same Vietnamese name and birthday. Serendipidy.
I would like to take this opportunity to recognize Hannah Do and The Giving Plant for the beautiful succulent arrangements they make to benefit The Center for Innocent Children. Their mastery of the craft and wholeheartedness are inspiring, especially given the fact that these succulent arrangements have contributed over $3,000 towards the fundraiser to date, with more orders in the works!
These aren’t ordinary succulent arrangements. They’re unique and unusual creations, Valentines specials, Easter-inspired, and custom designed arrangements, ranging from $15 to $150, and 100% of the proceeds benefiting the children.
It’s time to take it to the next level!
After much thought and consideration, Hannah and I have decided to raise the bar for 2019 to $10,000. The first $5,000 will be donated to the Center for Innocent Children as originally committed. The additional funds raised will also benefit the Center along with two more organizations. Gia Đình Thiên Phúc is an orphanage located in Củ Chi. Nhà Đưỡng Lão Tình Thương is an old age home also located in Củ Chi, where the elderly residents have the same profound kindness of children, and deserve our thanks and consideration.
How can you help?
“It is easier to build strong children than to repair broken men.” Frederick Douglass.
The children from these orphanages come from many places with different backgrounds and contexts. They have unique personalities and various needs. With our continued support, the Center for Innocent Children and Gia Đình Thiên Phúc will be able to carry on with their respective missions and help these deserving children. While the elderly at Nhà Đưỡng Lão Tình Thương will be reminded that they haven’t been forgotten. Please consider joining us on this worthy journey.
Reproduction is prohibited without my explicit permission.
St Ethelbert, Hessett, Suffolk
Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.
The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.
No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.
Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.
With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?
So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.
Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.
Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.
The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.
The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.
Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.
Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.
Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.
To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.
So - what survives at Hessett? The wall paintings first.
Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.
Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.
In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.
The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?
Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.
The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.
The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.
Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.
At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.
And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.
In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.
The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.
Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.
What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.
This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.
Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.
If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.
At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.
But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.
In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.
And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.