Animals are often part of tourist activities in most tourist destinations across Pakistan. For instance, elephant riding, horse riding, camel riding, and yak riding, besides visits to zoos where animals are the source of tourist attraction. Sometimes bullfighting, dogfighting, rooster fighting, and other similar activities are organized for tourists attraction. These activities can involve physical abuse and can also result in the death of the animals. Just take the case of bulls, they do not leave the arena alive. Many animals die as a result of these fights.

 

Animal racing can also have this consequence. Bull racing, dog racing, and horse racing are organized in some destinations witnessed by the crowd. The animals losing the race invite the wrath of the owners, who then subject them to rigorous punishment, which sometimes results in killing the poor animals. These types of ‘entertainments’ have to be strongly rejected in tourist destinations through awareness-raising and putting in place standard protocols for the purpose.

 

There are other unexpected circumstances surrounding animal abuse. For instance, donkey rides, horse and carriage rides, or a camel trip can frequently involve maltreatment of the animals, say, by overloading, subjecting them to extremely long working days with no water or feed in high temperatures. It is time for travel companies and tourists to show care and kindness towards working animals in the tourism industry across Pakistan.

 

Further, the tourists and visitors need to adopt a standard protocol of animal welfare during their direct or indirect interaction with captive animals. We must understand that animals have specific needs, regardless of their situation. Whilst there are many examples of good practices, some captive wild animals suffer poor animal welfare standards, and as such may suffer for the benefit of the tourists or the general public. Further, visitors can be at risk from animal attacks in situations where a supplier allows close contact to occur between tourists and wild animals.

 

Therefore, when wildlife species are displayed, a travel company should ensure that it is done in compliance with national and international accepted standards and complete adherence to such rules and regulations.

 

By encouraging good practice concerning the care of all animals, their welfare can be substantially improved in the destination across Pakistan.

 

batutatravels.tumblr.com/post/650059578112868352/animal-p...

 

Had some fun with the new ray-tracer and extrusion tools in AE CS6. Works well with Trapcode Echospace (an instancer, or repeater effect)

For a brief instance everything stopped,

our eyes met and we couldn't look away.

You staring deep down into my soul,

with me innocently trying to perfect my focus on your cute little face.

And a second later it was as if nothing had happened,

the wind still carried through the branches and I continued on hoping for another chance encounter with someone who's brave enough to look me in the eye.

  

Another photo from my summer 2008 scanned set, from the Pentax ME.

Diffracting waves encircle tiny tufts of grasses puffed with shiny glare,

Sun sets beyond my reach where dreams lie idle beyond my grasp,

Resuscitating instances of future glow and color lapse,

it would be mine if I've tempted fate and braved my fears,

but do I dare?

   

--large--

Madrid, 23 de noviembre de 2017

 

www.interior.gob.es/es/web/interior/noticias/detalle/-/jo...

A classic instance of the joy of having a camera (i.e., my iPhone) just when there is a scene that confronts you - but one that will only last for a fleeting moment. Right place and right time! A gloomy morning turned to a beautiful day as mist and low cloud cleared from the valley. Caught the mist just clinging on as a layer half way up the opposite slope. Even caught a bird on the wing, silhouetted against the mist towards the left hand side of the panorama!

 

Sadly, this was the last morning of what had been a marvelous break in the village over the Christmas holiday period.

 

Thredbo, New South Wales, Australia.

 

Series of 4 landscape orientation photographs taken with an iPhone 4 using the HDR option. Stitched into a panorama and cropped using Autopano Giga v2.6. Digital camera speckle noise attenuated using PaintShop Pro X4. PhotoScape used to apply backlighting, gamma-brightness, saturation, and image brightening adjustments. PhotoScape also used for image padding and vignetting (#7) to provide a simple ND filter effect to the sky.

 

(Filed as [Group 1]-20111227_iPhone 018_20111227_iPhone 024-4 images - v1 - PSPX4-DNR-crop-PS-BSMV-crop-B.JPG)

(037.jpg)

 

Recto

Cap 4

2

 

good breeding qualities - instances often occur of females bringing to their [looming] Lords, what Liston in Apollo Belvi calls a ready made family – And there are many instances amongst our middling and higher classes of matches being concocted after the parties have had long and intimate knowledge of each others good qualities – but it may be observed in proportion as the population increases, that better views and [nicer] distinctions are being made, at least if virtue be not loved for itself alone, it becomes estimable from the importance attached to it by the admirers of good order

 

As soon as a prisoner obtains his ticket of leave or becomes free by servitude his first object is to procure a wife, and without considering whether she is virtuous honest or industrious he boldly pops the question to the first female he happens to encounter – He merely wants a wife and her being useful is an unnecessary question in a country where he can support his wife and family by working two days in the week – A farming man who can fence or put up rough buildings of wood can easily earn about £3.10 per week and find time to cultivate a small patch of land as well – He grows his two or three acres of maize and an acre of wheat – keeps his pigs and poultry, and his wife if disposed to be industrious may milk her cows – and this small produce will perhaps be worth with common care 30/- or £2- more – His outgoings are almost nothing – and with common care and industry, he may lay by all his earnings – But not one in a thousand do so – he no sooner becomes possessed of a little money, than he takes it to the public house which is never left until the last farthing is spent – The improvidence of the lower classes is astonishing – there is no care to the morrow, because necessity is unknown to them – There is no sense of improvement in their circumstances because they will spend their time in idleness and debauchery to day lest their wives or friends may rob them tomorrow – The Grog bottle is the fertile source of almost all the evils which now attend the lower as well as the higher classes – Ask any

 

Another instance of white or luminous material under a small rock.

 

This one brought to my attention by Geraldine Bourrelli.

For instance, here was an idea for a two-story repetitive pattern of "selected bricks protrude," at an apartment building from 1954.

 

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

 

In Norfolk, Virginia, on October 12th, 2023, at 233 W 25th St (built in 1954; a "contributing property" in the Park Place Historic District, 06000029 on the National Register of Historic Places) on the south side of West 25th Street, east of Llewellyn Avenue.

 

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

 

Getty Thesaurus of Geographic Names terms:

• Norfolk (7022201)

 

Art & Architecture Thesaurus terms:

• apartment houses (300005707)

• brick red (color) (300311462)

• brickwork (works by material) (300015333)

• exterior walls (300002523)

• geometric patterns (300165213)

• historic buildings (300008063)

• historic districts (300000737)

• lichens (Fungi) (300249626)

• Mid-Century Modernist (300343610)

• projecting (300010286)

• red brick (material) (300444202)

• stairs (300003228)

• stairwells (300004324)

• two-story (300163703)

• weathering (300054115)

 

Wikidata items:

• 12 October 2023 (Q69306950)

• 1950s in architecture (Q11185577)

• 1954 in architecture (Q2812106)

• contributing property (Q76321820)

• Hampton Roads (Q1011895)

• National Register of Historic Places (Q3719)

• October 12 (Q2920)

• October 2023 (Q61313015)

• Park Place (Q7137926)

• Park Place Historic District (Q123745574)

• South Hampton Roads (Q7567420)

• Tidewater (Q7800894)

• Tsenacommacah (Q7849523)

 

Library of Congress Subject Headings:

• Brick walls (sh85016796)

• Dwellings—Virginia (sh85040263)

• Historic buildings—Virginia (sh85061105)

Very first drawing. The turbine wind mill, hollow. A Jet Wind Mill is the very same as the turbo wind turbine. At this stage I do not yet have a name for, for instance: "the wind jet turbine, JWM, or passive working turbo, or the with the blades outer mantled wind jet turbine, wbomWJM...

 

The construction ring around the blades is borne in three rings of wheels. These wheels are hanged in the mantle / housing. The generators, hub dynamo's in bicycle wheels in the prototype, are fed by the rotations of the bearing wheels around the ring with the blades.

 

The blades -rotors- are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant vibrating occurring at the ends of the blades.

 

In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras' law comes in as foundation to calculate the angle of attack in the blades. Further on, one will see that windsurfing is done in the half wind sailing course and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.

 

High speed, directed perpendicular on the wind, leads to the fact that a given sail area is used optimally.

 

You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Next step. We imaginary move this plate with for instance 300 m/s in the direction flat on the wind. Now we'll see that the actual wind speed, S, that hits the blade is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the wind speed. If now the original wind speed is very low, say, 1 m/s, than we might as well assume that the actual wind speed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed, perpendicular on the original wind's direction, then the actual wind speed that hits the blades, comes almost from the front. A blade end of a windmill moves faster than that blade does near the center, so that blade ends are almost positioned flat on the wind. The same counts for windsurf sails, although the sails are hold almost flat on the wind, the actual wind flow that hits the sails is coming more or less from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. High speed implies high lift forces, and therefore we need stable and strong configurations that hold the blades.

 

I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.

 

I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.

 

The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, hold our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.

 

And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.

 

By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, start to understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.

 

I mean, did you ever see a professor, 60 years old, windsurfing on large waves with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.

   

So, you as reader will never read or hear about windsurf machines and turbo windmills, which can save the planet, other than in this slide show.

 

I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?

 

Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.

 

Turbo windmill, or Jet Wind Mill [JWM] / JWM is a nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.

 

Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.

 

We need energy. For making fresh drinking water, for irrigation, for making electricity, making hydrogen, for moving cars, trains, planes and so on.

 

The windsurf formula is here, for everyone to use in the world, because I dropped my patents. It is free, for you, Africa, Asia, America, Europe, the south pacific continents and islands. Just have a look and run this show a few times. It is like the wheel itself, it is normal, revolutionary and it will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the turbo windmill is spin off, because these blades are in fact circular moving steady in positioned hold windsurf sails.

Removing for instance the enbossed name "Seville" in anticipation of a new paint job required dismantling the whole front of the car. The word "Seville" is fixed by two bolts. One can be reached from the wheel well. But not the next .... which demand removing the fender. And since the fender supports the hinges of the hood, then the latter has to be also remove and so on. Coming up with a hubcap, spoke after another, involved making a best-off from 4/5 siblings

There are many instances when the Hire a nanny Los Angeles individual will be travelling or going to office, it is really tough to manage or keep small kids. In such situations the role of nanny is important and it is really worth to have the best professionals working. There are some nannies for hire Los Angeles advanced as well as best of new nanny services coming up in the market who will help in making it certainly as well as unique experience.

You still hear that line now and then, for instance from old guys who think their '56 Buick -- or whatever -- was the greatest car ever. Here's some evidence, though, for the truth of that well-worn saying.

We did a total rehab of our house nine years ago, which included a lot of new framing, replacement of the siding, and of all the trim wood such as around windows and doors. But -- the exterior trim started going bad at least a year ago, bad enough that I've had to get into replacing it piece by piece. This is happening, as best I can tell, because of the type of wood used by the contractor -- finger joint pine -- plus his neglecting to prime paint or otherwise preserve the wood before nailing it in place. I presume he used the finger joint wood because it's nice and straight, and virtually knot-free. It looked great when the job was finished, and for a few more years.

Now, as I work my way through the replacement process, I'm using solid pine or fir, and am prime coating each piece on all four sides and both ends before installation. And, of course, caulking the joints thoroughly. Still, it probably won't stand up for many decades as is the case with some of the old houses around town. I suppose I'm really conducting a multi-year experiment ... and, keeping my fingers crossed!

This is one of the seven photos that will be in an exhibition on Santiago do Cacém. Some of the photos were created to honor Manuel da Fonseca (writer 15.10.1911 - 11.03.1993). Today I finished my work (this work is a colaboration with my husband, he shot this picture, for instance, and we did almost everything together). So I finished right on time. Today is the aniversary of his death, and I should say that I loved to read some of his books, like the one wich inspired me to do this picture: Fogo e cinzas (Fire and ashes). The book tells the story of a man who abandoned his fiance. Her house caught fire and a friend of this man, a fireman, rescued her from inside the house. When they got outside, everyone saw that she was in her nightdress. It was a huge shame for him, and he couldn't marry her anymore.

So you can see... what a diferent time we live in right now.

Rather proud of this one. A rare instance when I got the position and composition that I was trying for.

I have come upon the CROTCHETY OLD MAN before (though in one instance he was a CROTCHETY MIDDLE-AGED WOMAN). Once at a mall in downtown Springfield, Missouri I was looking at some real photo postcards. There was a stack of fifty or so, and I always try to go as fast as I can. So I shuffled through the cards, and as I did so I dropped each one on the table. They had been nicely stacked when I picked them up, but they were sort of scattered after I had looked at them. I wasn't going to leave them like that, but I was going to wait until I had finished looking, and then square the stack.

Jaz was the butt of many a joke at home. His intense and sensitive nature made him prone to imaginary threats, visions and delusions. In this instance he is listening to voices emanating from the painting behind him. Subsequently, he attempted to feed us a meal consisting of five cloves and two fuschias. In my opinion, he needed to listen to those voices a lot more carefully.

 

My Family Album

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Music Pregnancy... #Pregnancy #music #woman #baby #girl #studio #all_shots #photooftheday #photography #popularpics #popularpage #popular #instagranhub #instanced #instagram #iphoneonly #iphonesia #ipoto #fun #webstagram #beautiful #bastoftheday #instagrammers #ig #igdaily #jj #iphoneography #now #2012

 

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eliranavital: @kristykarpach בקרוב אצלך

 

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lironhila: יא מוכשר אחד!!!

  

Montpellier Hérault

Of particular interest is this street running between two walls with towers; in this instance, it concerns the main street of a first century military position: the thoroughfare runs almost diagonally to the axis of the wall and is paved with sandstone plates – the 6-foot (1.9-meter) wide tracks of the Roman wagon wheels which embedded in the threshold of the gate have provided a stone document of living historical proof in the relatively soft stone pavement

 

{FRA trip 19-21MAY2014, Mainz, Germany layover}

 

Reste des spätrömischen Stadttors am Kästrich, errichtet um 360-370 nach Christus: erhalten sind zwischen den aus zweischaligem Quadermauerwerk bestehenden Mauerabschnitten die diagonal verlegten Rotsandsteinstraßenplatten, die eingeschliffenen Rillen dokumentieren die weitgehend gleichen Spurbreiten aller Transportfahrzeuge – außerdem lässt sich die Schwelle erkennen, die als Anschlag für die beiden hölzernen Torflügel diente – sie waren Bestandteil eines Torturms, dessen Höhe die der Stadtmauer deutlich übertraf, das heutige Mainz entwickelte sich aus einem in den Jahren 13/12 v.Chr. errichteten römischen Legionslager und den dazugehörigen zivilen Siedlungen; um das Jahr 16 v.Chr., also unter der Regentschaft des Augustus, begann das Imperium Romanum damit, seine Grenzen wieder einmal stark zu erweitern und neue Gebiete zu erobern oder zumindest zu unterwerfen – in dem dann erfolgten Rahmen war die Expansion jedoch nicht geplant gewesen, sondern sie entwickelte sich im Laufe der Operationen zu größeren Ausmaßen – diese Ausweitung hatte grundlegende Veränderungen an den bestehenden Grenzen zur Folge

 

____________________________________________

Ruth's Career as a Flight Attendant – Happy Highlights –

 

The time has come for me to say a certain good-bye. I have decided to accept a Voluntary Early Out Program (VEOP) of the world's largest airline – saving another flight attendant from being cut involuntarily due to the corona virus pandemic – since our Company doesn't need 80% of us now. Upon leaving September 27, 2021, once exited, I turn into a retiree with full retirement benefits. So I worked my last trip March 1-4, 2020, not knowing – the Lord knew – it'd be my last, and very good.

 

My first flight to Germany, when I was a child, took 2 days, on a Constellation propeller aircraft in 1960 transporting military families like ours, hugging coastlines and stopping every so often along the way to refuel. Four years later, ending my father's tour of duty, I flew back to America on a jet airliner.

 

In working flights from the early 90's into 2020 I encountered unexpected joys, exceptionally difficult people, and potentially deadly situations; however, on 1 flight a passenger came to the jetbridge boarding door I was working on his hands... because he had no legs; he had to walk into the restroom on his hands, then ate his meals with those same hands. I said to myself that I wouldn't complain about anything ever again.

 

Never did any flight I was working on cancel; however, during one month of 4 transatlantic Frankfurt trips, the flight from the day before on 3 of my 4 return flights cancelled: we carried their relaxed, rested return (deadheading) crew, who had an extra full day in Germany to enjoy doing whatever they wanted to do, back over the ocean, working the totally filled flights while they sat, ate, and slept in passenger seats, 100% full airplane each time! I wished I also could have had an extra day, too, at least once!

 

In a quarter century I flew Germany about 1,000 times as Speaker (making the airplane announcements in German), usually once, sometimes twice, occasionally 3 times in a week, even worked – assigned as a reserve – 10 transatlantic flights in 15 days, 5 trips back-to-back non-stop; plus worked other international destinations, also 5 years domestic, mostly 3-day but a few 1-, 2-, or 4-day, and 1 prized 5-day trip. I will have accumulated 29½ yrs. seniority from my 20May1992 hire, acquiring lifetime memories, enjoying amazing friendships. This scenic journey down memory lane highlights my working trips of which I have pictures: 1 in 1994; 2 in 2001; 2 in 2010; after buying a smart phone, 252 the next day 11AUG2012 through 04MAR2020. Enjoy this mere 1% of a total of ~70,000 photos and occasional notes on working trips as a crewmember!

高等法院原訟法庭於2017年7月14日宣布，羅冠聰先生自2016年10月12日起被取消就職立法會議員的資格，並已離任立法會議員的職位。

高等法院原讼法庭于2017年7月14日宣布，罗冠聪先生自2016年10月12日起被取消就职立法会议员的资格，并已离任立法会议员的职位。

The Court of First Instance of the High Court declared on 14 July 2017 that Mr Nathan LAW Kwun-chung has been disqualified from assuming the office of a member of the Legislative Council, and has vacated the same since 12 October 2016.

Madrid, 16 de noviembre de 2016

 

www.interior.gob.es/es/web/interior/noticias/detalle/-/jo...

~Franklin P. Jones

 

Little Lucy Goosey. She is such a sweet heart. Yet behind that cute little smile and adorable oceanianic [I don't think I spelt that right] eyes, is a devious child full of new ideas everyday.

I've learned from babysitting my nieces so often, that kids have it made. They have life all figured out; but somehow, the older you get, the more you complicate things. I miss being a little kid, where the thing that made your day, was finding a catapillar in your backyard with your best friend.

 

What are some of your favorite childhood memories?

Europe Trip 2010 - Day 12

January 04, 2011

 

Joan of Arc has inspired artistic and cultural works for nearly six centuries. The following lists cover various media to include items of historic interest, enduring works of high art, and recent representations in popular culture. The entries represent portrayals that a reader has a reasonable chance of encountering rather than a complete catalog. Lesser known works, particularly from early periods, are not included. In 1979 the Bibliothèque Municipale in Rouen, France held an exhibition that contained over 500 images and other items that related to Joan of Arc.[1] Many of the excluded items are derivative of better known representations. For instance, Schiller's play inspired at least 82 different dramatic works during the nineteenth century.Verdi's and Tchaikovsky's operatic adaptations are still recorded and performed. Most of the others survive only in research libraries.[2] In 1894 Émile Huet listed over 400 plays and musical works about Joan of Arc. Despite a great deal of scholarly interest in Joan of Arc no complete list of artistic works about her exists, although a 1989 doctoral dissertation did identify all relevant films including ones for which no copy survives.[3]

For purposes of classification, popular culture music is a separate section from operas and oratorios. Films include made-for-television movies and miniseries. Television covers live action series.

The story of Joan of Arc was a popular subject for dramatization in the 1940s. In addition to Maxwell Anderson's play Joan of Lorraine and the Ingrid Bergman film Joan of Arc, there was also the 1948 RKO film The Miracle of the Bells starring Fred MacMurray, Alida Valli, and Frank Sinatra, about a dying film actress whose first and last role is Joan of Arc. There were also three radio dramatizations of the story of Joan during those years, one of them specifically written with a World War II framework.

Here's the thing: the internet will make you into a jerk.

 

I've had a couple of instances in the past month or few that have got me thinking about how simply rude and disingenuous people become via the internet. Therefore, I thought I'd get my actual soapbox out for a bit.

 

In my photography, I rarely pay anyone to participate. Because of this, I send out a lot of "hey, here is something I am working on, would you like to be a part of it" messages. Sometimes it is to friends via Facebook and other times it is to aspiring models via OMP and Model Mayhem. Now, because people's availability is not subject to my whim...and my ideas are not always that grand...I have had to develop a thick skin for the "no, not really interested" response.

 

This is not a problem. In fact it is something to be expected. My problem is with people who don't have the 30 seconds to type out that response and press send. In the case of professional models, there is some leeway as 9 times out of 10 we have never worked together before. Fine. But I've had people I knew for years not even bother to respond. Even worse, I've had people commit to things and then completely drop off the radar because they apparently are too afraid of confrontation to be able to say "sorry, things got busy, I'm not going to be able to participate"...(you know who you are girl from high school that was a year behind me and is finishing law school! Ohhhh the restraint I am exercising not to call you on it in front of the 7 people that follow this progression...).

 

Now, if it was only my experiences, that'd be one thing. I can be a bit of a self-righteous so-and-so from time to time. But a buddy of mine told me a story a few weeks ago that just took the cake. First, know that this buddy is a pretty attractive woman in her mid twenties, the sort that has, hand to god, turned a room full of heads. True story, I saw it happen, probably have photos of it somewhere. Anyway, she's had casual interactions with a fella and thinks that there might be something there worth exploring. So she, as a woman mind you, sends this guy an email asking if he'd like to go out sometime.

 

No response. At all.

 

The male, as I don't seem to be able to use the term gentleman here, removes her from his Facebook account and seemingly deliberately goes out of his way not to see her in public settings!

 

Now I'm not saying a woman shouldn't be asking a man out, god bless those that do. But I think most will agree that it is far more common for men to just ask people out willie-nillie and when a woman does it, she's really putting herself out there. Disregarding that gender commentary, anyone who has taken the step of asking someone out on a date knows what that time between the asking and the response feels like. Imagine sitting there and just waiting...and waiting...and waiting.

 

What a god damn jerk.

 

So in short, children of the internet, when someone takes the time to deliberately ask you something, take the 30 seconds to respond. If you don't, someone might throw a bar of soap at you.

 

(anyone that sends me a mass email that was also addressed to 5 or more other people and expects me to respond can, as Livia Soprano said, stick a fork in their eye.)

 

25%

Madrid, 19 de diciembre de 2019

 

www.interior.gob.es/es/web/interior/noticias/detalle/-/jo...

(Lincoln Beach, Oregon) - Yes, I sometimes get carried away - and this one of those instances. Due to horrendous planning (I'll conveniently blame on a seal at Cape Kiwanda for this), we ended up far short of our intended dusk location. And the sunset had started to look really interesting.

 

So we panicked and ended up at this cute little beach south of Lincoln Beach. It looked to have potential from the cliffs before climbing down, but we were disappointed was we descended as the sun was blocked by a steep rock formation that jutted out into the ocean. There were a couple solutions. One - and this looked like the wet solution - was to wander off along the beach in the search of some rocks. This looked risky as we were rapidly running out of light.

 

So I strapped the tripod to my camera bad and climbed the steep rock formation to get at the sunlight. It was easy, but stupid. Why?

 

1. It is easier to climb up than down.

2. It is easier to climb with plenty of light at sunset than 30 minutes later at dusk.

3. It is easier to climb up with a tripod on your back than down with a tripod on your back (and have it bang into everything).

4. It is easier to climb up with dry shoes than down with wet shoes.

 

This was one of the shots from up on the rocks. Nice, but risky. On a scale of 1-10, the climb up was a 2 and the climb down maybe a 7.

 

I took some more shots on the other side of the rocks - and did stupid stuff there too, but I'll write about that some other day.

 

...basically, it is not as fun to take great pictures if you are not around to see them afterwards. My dad said that at Delicate Arch after seeing me change lenses and balance myself and a tripod on a ledge so as to just get the snow peaked La Sal mountains through the arch.

 

Ironically, did I learn? Not at all. This was the start of splash photography for us...

This is one of those rare instances when you suspect the Photography Gods actually like you. Heather and I attended a vintage sale at the Bishop's House, a classy Victorian house in Boise. The flyer mentioned there were going to be some classic cars and pin-up models so we decided to check it out. Good decision.

 

The weather was blustery - cold, windy, heavy, overcast - it looked like it was going to rain at any time. Only one car showed up. It was owned by a very cool guy named Lloyd; he didn't mind us checking out the car, even encouraging us to sit in it. He also had a 1920's style (air) gun in the front seat. A few minutes later we bumped into a lovely lass with blue hair and a great outfit. We found out she is Eleanor P., a professional pin-up model.

 

We asked Eleanor to shoot with us near the car; she lowered her standards and shot with me, with Heather helping her pose and Lloyd also coming up with ideas. What a great mini-shoot! Totally unplanned and I wouldn't have changed any of it. Well maybe not so cold - Eleanor was turning blue by the end of the shoot.

 

I took these photo in mid-May 2015.

The Surveillance Court (Tribunale di Sorveglianza) operates as a court of first instance, and as a court of appeal towards the decisions of the Surveillance Judge. The Surveillance Court's jurisdiction encompasses a district of the Courts of Appeal.

 

Rome (Roma in Italian) is the capital city and a special comune of Italy (named Comune di Roma Capitale). Rome also serves as the capital of the Lazio region. With 2,872,800 residents in 496.1 square miles (1,285 square kilometers), it is also the country's most populated comune. It is the fourth most populous city in the European Union by population within city limits, and the most populous metropolitan city in Italy. Rome is located in the central-western portion of the Italian Peninsula, within Lazio (Latium), along the shores of the Tiber. The Vatican City (the smallest country in the world) is an independent country inside the city boundaries of Rome, the only existing example of a country within a city: for this reason Rome has been often defined as capital of two states.

 

Rome's history spans 28 centuries. While Roman mythology dates the founding of Rome at around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The city's early population originated from a mix of Latins, Etruscans, and Sabines. Eventually, the city successively became the capital of the Roman Kingdom, the Roman Republic and the Roman Empire, and is regarded by some as the first ever metropolis. It was first called The Eternal City (Urbs Aeterna in Latin or La Città Eterna in Italian) by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the "Caput Mundi" (Capital of the World). After the fall of the Western Empire, which marked the beginning of the Middle Ages, Rome slowly fell under the political control of the Papacy, and in the 8th century it became the capital of the Papal States, which lasted until 1870. Beginning with the Renaissance, almost all the popes since Nicholas V (1447–1455) pursued over four hundred years a coherent architectural and urban program aimed at making the city the artistic and cultural center of the world. In this way, Rome became first one of the major centers of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the center of their activity, creating masterpieces throughout the city. In 1871, Rome became the capital of the Kingdom of Italy, which, in 1946, became the Italian Republic.

 

The historic center of Rome is listed by UNESCO as a World Heritage Site.

 

Information from: en.wikipedia.org/wiki/Rome

   

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)

 

---

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

 

How many instances of myself would be needed to make me feel bored ?

 

Experimenting with multiple myselfs, at the Microsoft campus in Rome.

Experimenting with self-portariting as well for the first time - yes this is actually me. Well two of them.. :)

 

Entirely done with Photogallery - see windowsteamblog.com/windows/b/windowsexperience/archive/2...

Critical Run @ Venice Biennale / art format Run and Debate about EMERGENCIES

 

Critical Run is an Art Format created by Thierry Geoffroy /Colonel

debate while running . Debate and Run together, Now , before it is too late.

 

The Art Format Critical Run has been activated in 40 differents countries with 112 different burning debates

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam. ZKM Karlsruhe, Liverpool Biennale ; Sprengel Museum etc..or have just happened on the spot because a debate was necessary here and now.

www.emergencyrooms.org/criticalrun.html

www.emergencyrooms.org/formats.html

www.colonel.dk/

artist Thierry Geoffroy creates art formats

aim to develop awareness muscle

 

during Venice Biennale 2019

 

The Exhibition will develop from the Central Pavilion (Giardini) to the Arsenale, and will include 79 artists from all over the world.

 

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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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

 

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

Thierry Geoffroy / Colonel

  

Recently in many instances mostly involving people whose picture i take in the street, I cannot bring myself to shoot with a camera in between me and the life thats happening around me.

So with this technique of having a camera in hand but not looking through it, I look at life around me with a deep awareness and I have tried to develop this eye hand co-ordination, to click when something does something to me.

My photo walk of March 7, 2023 along the left bank of the Saône between l'Ile Barbe and the Quai Gillet, Lyon, France.

 

I used my recently arrived Rollei 35 camera (year 1973) and a Rollei Retro 400S (=Agfa Aviphot) 36-exposure film exposed for 400 ISO.

 

The Rollei 400S - Agfa Aviphot film used for aerial photography is specially sensitized in the red, up to 780nm in the near IR instead of the regular 650-680 nm limit of a normal panchromatic film. The film provides usually high-definition and high-contrast negative views. What is more, the Agfa Aviphot is coated on a thin and flat polyester base without any base color increasing the contrast as well. However to prevent the halation possible the Agfa Aviphot is coated on the backside with a black and blue anti-halation pigment to inhibit the light back diffusion (halation).

 

Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. Measuring was found consistent with the Rollei 35 build-in photometer when oriented to the zone of interest. Typically, 1/250s, was used at f/8-f/5.6 to f/3.5. Allthe vi ew were taken with a 24mm screwed Rollei filter anti-UV fitted on the Tessar 1:35 f=40mm lens with the original Rollei neoprene shade-hood.

 

Quai Georges Clémenceau, March 7, 2023

69300 Caluire-et-Cuire

France

 

After exposure, the film was processed using Adox Adonal (=Agfa Rodinal R09) developer at dilution 1+25, 20°C for 10 min 30s.

 

The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.

 

All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.

 

About the camera and the lens:

 

This original Rollei 35 is equipped of the collapsible 40mm Tessar lens "Made by Rollei" under Carl Zeiss licence who designed the first 1:3.5 f=40mm Tessar lens for the Rollei 35. Original Rollei 35 were manufactured by Rollei Franke & Heideke company originally in Germany starting year 1966 then later in Singapore until 1981. Originally, the build-in CdS cell was design by Gossen and the central shutter by Compur. Diaphragm and shutter are operated mechanically by two wheels on the front of the camera. The CdS cell is coupled to both. The Rollei 35 was a miniature 35 mm camera weighting around 320g, about 100g more than the Rollei 35 LED for instance with less mechanical parts. Overall more than 2 millions of Rollei 35 camera were produced over 15 years under different versions. According the serial number (3 410 XXX) of this chrome-plated camera was produced by Rollei Singapore between 01/1971 and 06/1973 and likely after 04/1973 due to the Tessar lens "Made by Rollei" instead of formally Carl Zeiss Tessar (ref : rollei35.eu/rollei35numbers.php#r35ge). It came with its original leather pouch, the wrist strap, a Rollei soft collapsible shade hood, Rollei 24mm screw-on UV and medium yellow filters, and the original user manual.

medievalpoc: Friedrich Hagenauer Bust of a Young Black Man Germany (c. 1530) Maple. Staatliche Münzsammlung, Munich The courts of princes and nobles were fertile ground for upward mobility, not only for those of African descent. Known instances point to former black slaves making use of natural capabilities or artisanal skills, for example Christopfle Le More, who rose from stable work to be a personal guard of the Emperor Charles V. In like fashion, “Grazico of Africa, called il Moretto (the little Moor), horseman, page to the knight Prospero” is noted in Medici court records for salaries paid in 1553, while a manumitted North African Muslim held an important position in the stable at the court in Lisbon of Catherine of Austria (1507–78). João de Sá Panasco’s career at her court began as slave and jester, in which role he was known for his wit. However, much of it was self-deprecating and he suffered from jibes. The date of his manumission is unknown, but by 1547 he was a courtier, a gentleman of the royal household, and the king’s valet. He was awarded a knighthood in the Order of Santiago around 1550. Black salaried court entertainers were often musicians, usually their occupation before manumission. A black drummer was on the payroll at the Scottish court in 1504 while Johan Diez in Valencia and John Blanke in London were among those who were trumpeters. The chances are great that the subject of the exquisite Bust of a Young Black Man attributed to the German medalist Friedrich Hagenauer (1490/1500–after 1546) was attached to a court, possibly that of Munich where the artist was active 1525–27. -Revealing the African Presence in Renaissance Europe, p. 86-87

Another instance where I would have like to get a 3X exposure on a tripod instead of 1x hand-held.

 

Software: Photoshop CS5, Photomatix, Topaz Adjust, Topaz Detail, Topaz DeNoise 5

Life was not always perfect in Cades Cove or the Smokies generally. Divorces and Separations though rare sometimes happened. Take Matilda Shields Gregory for instance. She and her young son were deserted by her husband. But in the Cades Cove culture, if you had family nearby, you had help. Her brothers quickly built a small mountain cabin to give her shelter, no small task when you consider they also had to build the fireplace and chimney too. Reflecting the speed with which they had to obtain shelter for their sister, the cabin was one of the roughest in Cades Cove. Its logs were rough-hewn with a felling axe with a stone chimney made of rubble.

  

In time Matilda was re-married the widower Henry Whitehead who in 1898, out of love and sympathy built her one of the nicest log homes in Cades Cove. Matilda and Henry Whitehead's new Smokies home had a brick chimney, unheard of in Cades Cove at the time. In Cades Cove if you wanted bricks you had to make them yourself. The process was accomplished by finding clay soil, and digging and then filling a hole with water. The surrounding clay soil was then scrapped and stirred with a hoe until thick and smooth. Then the wet clay was put into molds where the bricks were dried. Afterwards the bricks were fired to make them durable. Later Henry stacked his bricks with mortar into one of the first chimneys in Cades Cove.

The rest of their Cades Cove cabin was made of square-sawed logs that were finely finished inside to be smooth and attractive. In fact the cabin was so nice that it looked very much like the frame homes which were soon to become fashionable when the first sawmills were constructed in Cades Cove.

  

The couple's masterpiece was especially warm according to Cades Cove standards as square log construction was naturally well insulated by approximately four inches thick walls and practically no space between the logs. The Henry and Matilda Whitehead place is the only square-sawed log home to remain in Cades Cove as well as the only one left in the entire Great Smoky Mountain National Park. It is considered a transition house from the early Cades Cove cabins to the modern frame homes that later were popular in Cades Cove.

 

Info from the web site Cades Cove Tn.

www.cadescove.net/auto_tour.html

  

Socialbarrel.com

 

social media news, mobile new

 

The unfortunate part of news delivery via social media is that you cannot always filter out the type of information you wish to receive or the amount of it. For

 

instance, if you have signed up for information to be posted and distributed to you from CNN, you may also receive the 30 postings they send out during the Emmy awards

 

when all you wanted was information on politics.

 

Madrid, 2 de octubre de 2014

 

www.interior.gob.es/web/interior/noticias/detalle/-/journ...

Focus on Eldercare's response to COVID-19

 

At the purpose when the noxious impacts of COVID-19 showed first in Wuhan, the entire city and therefore the entire of Hubei Province ground to a halt. The lockdown of Wuhan brought remarkable torment and threatening difficulties for several individual occupants therein first focus. Presently, COVID-19 represents those equivalent difficulties for individuals and social welfare frameworks all-inclusive. Especially, it tests our aggregate endeavors to believe one another, particularly the foremost defenseless among us.

 

As a populace, individuals quite 70 will generally have more fragile insusceptible frameworks and progressively fundamental conditions that obstruct their capacity to battle the infection. They're likewise sure to dwell on bunch day to day environments, nearby people. Floods of COVID-19 passings in nursing homes — first within the Seattle territory, at that time on the brink of Sacramento and now during the country — have underscored this inauspicious reality. Up until now, Californians quite 65 have made up, at any rate, a fourth of the state's affirmed instances of COVID-19.

 

Be that because it may, guidelines, especially for helping living offices, are unsafely failing to satisfy the expectations in protecting California's older folks from this infection. Luck, Gov. Gavin Newsom's plan on Aging activity, as of now ongoing, presents an opportunity to forcefully address this peril and find how to secure an enormous number of more seasoned Americans.

 

Helped living focuses are an aid to the Eldercare business and therefore the enormous corporate proprietors that currently command the market. Simultaneously, in any case, an absence of guideline and oversight of staffing levels and capabilities — particularly prerequisites for on-location doctors and much prepared clinical experts — has left the business defenseless against misuse and unfortunate results. One glaring issue that has got to be tended to: helped living focuses are directed by the state Department of Social Services rather than the Department of Public Health.

 

In any case, it helped to measure maybe a piece of social welfare and clinical consideration conveyance framework, not only a direction for living. Propelled a year ago, Newsom's plan on Aging has framed a warning advisory group, is holding open gatherings and within the fall is planned to offer a 10-year plan which will address issues from lodging and vagrancy to crisis readiness to manhandle and disrespect. The venture has made a "Value Committee" to urge a contribution from a progressively differing gathering of residents and associations, including agents of the crippled network, Native Americans and other ethnic minorities.

 

Considering the spreading coronavirus general wellbeing emerging, it's basic that the representative's plan on Aging takes on an expansive and genuine open arrangement job. We weren't bothered with elevated level clichés for tending to the wants of the old. We'd like solid arrangements, solid guidelines with implementation teeth and a guarantee to continued oversight.

 

The Age of COVID-19

 

Older people who get themselves out of the blue alone without authority over their conditions are at specific hazards for an assortment of serious, even hazardous, physical and psychological well-being conditions, including a subjective decrease. Limitations on the opportunity of development ought to be proportionate and not founded solely on age.

 

COVID-19, as different irresistible melodies, represents a higher hazard to populaces that live in nearness. This hazard is especially intense in nursing or matured consideration offices, where the infection can spread quickly and has just brought about numerous passings. About 1.5 million older people individuals live in the nursing homes in the US, barring helped living offices and different settings making nearness.

 

Twenty-three individuals kicked the bucket in a flare-up at an office in Washington State in February and March, and the US Centers for Disease Control detailed 400 additional cases in offices as of April 1. On March 31, wellbeing experts in the Grand East district of France detailed 570 passings of older people in nursing homes.

 

Older people often end up in nursing homes due to governments' inability to offer adequate social types of assistance for individuals to live freely in the network, approaches that have put millions at included danger of getting the infection as a result of their organization. Governments ought to guarantee the progression of network-based administrations with the goal that individuals don't wind up in organizations without different alternatives.

 

Expound now on the roles played via care laborers in continuing the lives of the old during that emergency, and who, however dreadful themselves, by and by remain day in and outing inside the bounds of their wards to offer fundamental consideration.

 

Care supervisor Chang, the woman in charge of the consideration laborers among whom I led my hands-on work, coordinated the change of her ward into a self-sufficient fixed of a unit of care. The passage to her floor is carefully monitored; just fundamental conveyances are permitted, for instance, nourishment and clothing. Since nobody can enter or leave the structure, the flask for the older was transformed into a dozing region for care laborers. Despite the very fact that a lot of consideration laborers have their circle of relatives to require care of, they put that piece of their life under the control of others. Care specialist Lin, whose spouse died at the start of the pandemic, did not have the chance to completely grieve his passing due to incessant understaffing at Sunlight. She came back to figure following the burial service, despite realizing that she not, at now expected to figure at Sunlight to hide her significant other's clinical costs. Lin's arrival says much regarding her promise to her calling, to her colleagues, and to the old she had come to understand so well. My examination with care laborers recommends that it's an enthusiastic association and an awareness of other's expectations that propels them to remain the end of the day in care work. This is often borne out immediately.

 

Carefully add China is often seen as being grimy and unfortunate, thanks to an excellent extension to its nearby hook up with the realistic consideration required by slight, skilled bodies. Chinese consideration laborers are for the foremost part provincial to urban transients or urban specialists laid far away from previous state-claimed processing plants. In any case, direct consideration is intricate. In any case, its unpredictability goes unrecognized, or maybe disregarded by institutional powers that organize benefits and generalize the old as bodies to chip away at, to the disregard of their social-passionate necessities. As is valid with Sunlight, things which might typically undermine the keenness of care laborers, for instance, the absence of institutional acknowledgment for his or her enthusiastic work, are required to be postponed. Care specialists are currently centered around a shared objective: ensuring the gift assistance of the older. COVID-19 propels care laborers to consider what kind of care is required and the way to offer that care. It fills in as a channel through which the elemental beliefs of care are observed. Care is about common human weakness and our intrinsic association. Care laborers at Sunlight, in their aggregate every minute of everyday endeavors to secure the older, typify this ethic through their consideration. May the respectful regard, they hold of the older in their consideration redound on them and everyone consideration laborers overall who are fighting this pandemic on the bleeding edge!

 

Like the consideration laborers at Sunlight, the laborers in numerous nations are regarded human life so that we cannot be embarrassed to return clean with the leading edge about ourselves. Salute the spearheading staff who salutes our purposeful endeavors to handle the pandemic in numerous settings around the globe, within the daylight, yet additionally to ensure that veterans are appropriately treated, took care of and washed.

 

We all hope and pray that the coronavirus will soon be controlled and subdued. And that when the crisis is behind us, that we continue the important work of protecting the elderly and other vulnerable segments of our citizenry.

 

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How Can I Contribute in Times of COVID-19?

 

Write your testimony about the concequences from the time of Corona virus (COVID-19). Here is a great knowledge base about the effects of the Corona virus. Thank you for your story! article-directory.org/article/717/40/Emergency-Situations...

This structure has a foundation wall with horizontal cracks. This type of cracking tells our Peak Structural System Design Specialist that the wall has pressure coming against it from the side rather than from below. Our Colorado soil is unique in the way it responds to weather conditions and expands and contracts. That expansion and contraction is the pressure that pushes against the foundation wall. In this instance it is placing horizontal pressure against the wall resulting in horizontal cracking.

Need our expert team? Contact Peak Structural at 303 243 3028 or www.peakstructural.com/

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.

When you are not close to your computer, for instance, with this Twitbook you can write down meaningful thoughts, gossips, useful or useless things you want to post later on Twitter or just for twitting yourself in private like "to do" or "don't do" lists. Writting down on this notebook can be as addictive as twittering on Twitter.

 

The covers of Tweetbook are made with a treated recycled envelope that still has a swedish stamp and handwritten address. I have kept these details as a vintage decoration making a contrast with the actual social media. The inside front and back covers are made with a recycled spanish magazine.

 

Tweetbook opens flat. The bookbinding is made in the same way than in a book with hard covers and with a black cotton fabric tape glued and sewn to the covers.

 

The stitched pattern on the covers is made with an old sewing machine from the 40's.

 

Elastic band holds all tightly together.

 

13.5 x 9.5cm. 36 handsewn blank pages of Chlorine free bleached paper that can be used with markers, paints, brushes etc.

 

Enjoy it!

 

Find me on Twitter: @maalo

  

“Illiam Dhone: A Manx Historical Drama which won the Chruinnaght Gold Medal, 1924”

by J. J. Keen

 

Published by Yn Chruinnaght Vanninagh Ashoonagh, as “Publication No. 1”, in 1926

Printed by S. K. Broadgate & Co. Ltd., Douglas

 

A seven-scene play on the life, death and aftermath of William Christian (“Illiam Dhone”).The play is a masterful handling of the contentious question of the traitor/nationalist status of Illiam Dhone in handing the island over to the Parliamentarian forces during the English Civil War. Kneen manages to leave the question still open in the play, despite making Dhone a very strong and heroic character.

 

That J. J. Kneen (1873 - 1938) was perhaps the leading Manx linguist as well as scholar and nationalist of his day would not come as a surprise after reading this play. He had a great many articles and translations to him name, although his most famous work is probably the translation the Manx National Anthem into Manx.

 

Kneen was a keen playwright also, writing many plays on Manx topics and themes. This play of ‘Illiam Dhone’ is a curious instance in that Kneen deals with Dhone and the complex issues surrounding him masterfully while giving the play a very strange format - effectively splitting it into three parts:

(1) the Manx “rebellion” (in which Dhone does not appear throughout the first scene, when the Derby Monarchist rule is overthrown),

(2) the arrest, trial and execution of Dhone, eleven years later,

(3) the story of Dhone son’s overcoming a rival to marry the daughter of one of Dhone’s accusers.

It should be clear what a daring opening act it is to leap straight into the rebellion, but also what a curious final act Kneen gives the play. It almost feels as if the play would be better titled, ‘Illiam Dhone and the Curse of the Clan Christian’.

 

Some of the characterisation is wonderful, particularly the interplay of Lady Molineux and Bishop Rutter in Scene I, where Rutter’s almost camp reactions to her outspoken attacks of the Roundheads is brilliant when set against the raucous songs that are left to us by the historical Samuel Rutter (Bishop 1660-1662/3). But this is nothing to the brilliant handling of Dhone himself, who is heroic, clearly drawn and yet vague at the same time. This is perhaps shown in one of the key lines in the play when Dhone is refusing to try to escape from the troops out to arrest him:

 

Christian:

Were it a crime to be a patriot, then am I a criminal indeed. I ever placed my country before aught else.

[...]

‘Twould be as well for a mouse to struggle against a lion, as for our puny little Isle to attempt to dictate to the armed forces if the English State.

[Scene III., p. 11]

 

A detailed biography (and bibliography) of J. J. Keen can be found here:

www.isle-of-man.com/manxnotebook/people/antiqarn/jjkneen.htm

 

Samuel Rutter’s biography & the drinking song that they sing in Scene I can be found here:

www.isle-of-man.com/manxnotebook/manxnb/v08p159.htm

 

Illiam Dhone’s Wikipedia page is here:

en.wikipedia.org/wiki/Illiam_Dhone