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Managing Director and Chief Operating Officer of the World Bank, Sri Mulyani Indrawati, visits projects in Brazil. She visited Escola do Amanha at Complexo do Alemao slum, where approximately 800 low-income children have access to top quality education. Photo: Marco Antonio Teixeira / World Bank
Managing traffic in central Ulaanbaatar, Mongolia. Photo: Dave Lawrence / World Bank
Photo ID: DL-MN013 World Bank
Managed to get a bit more ballasting completed last weekend, so just had a bit of fun with the camera!
International Monetary Fund Managing Director Christine Lagarde (C) holds a joint press conference after speaking at the "CHALLENGES FOR SECURING GROWTH & SHARED PROSPERITY IN LATIN AMERICA" conference with Chilean Minister of Finance of Chile Alberto Arenas de Mesa (L) and Governor of the Chilean Central Bank of Rodrigo Vergara (R) at the Sheraton Hotel December 5, 2014 in Santiago, Chile. IMF Staff Photograph/Stephen Jaffe
Managing Director Kristalina Georgieva meets with Finance Minister of Somalia Dr. Abdirahman Beileh at the International Monetary Fund in Washington, D.C. on February 28, 2020. IMF Photo/Cory Hancock
We managed to get up to The Lake District for a few days at Easter. We got away from work on Good Friday afternoon and spent three hours covering 110 miles, the M61 and M6 were very slow or stopped. As ever once there we soon left the hassle behind. We were using a B&B that we used very regularly for ten years until the owner passed away quite suddenly. Now under new ownership it has been totally gutted and refurbished, it’s very nice but twice as expensive.
We were out in good time on Saturday, it was dull and cool but very calm. I’d deliberated for ages as to where to walk, wanting to avoid the worst of the Easter crowds. It was the busiest I’d seen the Lakes for a long time amd the North Lakes in particular had stunning weather, the South Lakes had dense fog in places until the afternoon and was much cooler – but not cold. Parking in Patterdale we headed up Arnison Crag, on to Birks aiming for St Sunday Crag. This was where it started to go wrong. I got a sudden pain in my right ankle, near a previous serious ankle injury, it’s not unusual to get a bit of pain in this ankle but it got worse. My ankle felt like it was in a vice. On the plus side the cloud which was very low initially was clearing higher at the same speed that we were climbing. We scrambled over Cofa Pike through some snow on to Fairfield and for a change the summit was clear with glorious views. I had to undo my gaiter and slacken my boot, my ankle was swelling and bruising. I took paracetemol and carried on – I didn’t have much choice really. We walked to Hart Crag out to Dove Crag, back to Hart Crag as we wanted to head down over Hartsop above How. We stopped for a quick sandwich and pot of lemon tea before heading down the rocky path. By now I was suffering but still able to walk fairly fast. The yomp back along the road to Patterdale was tough. We covered 11.5 miles in around five hours, which was OK for a first walk in the mountains for a while. We drove to Keswick wanting to get to Brysons tearooms for cake and coffee. Keswick was packed and sunny and we had to walk in half a mile, that was painful, my ankle was agony until I got it loosened up. Toasted Plum Bread, apple pie and ice cream and coffee made up for the grief.
On Sunday I knew I couldn’t walk much. I was applying Ibuprofen Gel regularly but it was going to be a car and camera day. There was dense fog when we set off so I decided we needed to be somewhere attractive when it started to clear, I just didn’t know when that was going to be. We drove into Langdale and the fog broke to reveal Blue sky and the top of the Langdale Pikes, it was fantastic. I immediately thought of Blea Tarn and drove up the pass out of Langdale. I expected to find, as is usual, tripods in a row, with photographers clicking away. There wasn’t a soul, it was so calm and peaceful – and beautiful – I couldn’t believe my luck. I limped as fast as I could to the Tarn, unfortunately an overnight camper, who I chatted with about the beauty, reflections and the camera I was carrying, did her best to encourage her dog into the water and she got in to get washed. It was so calm that the ripples would cross the entire tarn and spoil the photos. I shot as quick as I could, moving away from her all the time. I think I had around 15 minutes at the most before a breeze – that I couldn’t feel – started to ripple the water. The reflections disappeared and it was over. Without the bad ankle I would have missed this tranquillity as we would have been toiling up out first climb of the day. The fog stayed put in the South Lakes but we headed north over Dunmail Raise to blue sky and 17 degrees.
On Monday after 36 hours of Ibuprofen I felt that my ankle would stand a six or seven miler – but where? We had very thick fog in Ambleside so again I drove over Dunmail Raise and again it was fantastic. I could see the chance of some good photos around Thirlmere but I had to get waterside at a point where the view wasn’t obstructed with saplings and bushes growing out of the water. This was easier said than done, it took three attempts to get a decent location. I had reflections, hanging mist, water and mountains – and wet feet again, fortunately I had my walking boots and socks to put on for the walk ahead. After my photo chase we parked at Steel End and headed up the steep nose of Steel Fell. It’s a tough climb but the view over Thirlmere was great. We could see the wall of fog to the south and I was looking forward to getting to the top, hoping that we would be able to see over it with mountains poking out of a sea of white. This was exactly as it was, the Lion and the Lamb on Helm Crag looked like an island in the sea of mist. We walked along the ridge to Calf Crag with clear views to the north and a sea on mist to the south, it looked like the right choice again. We were going to head down Wythburn back to Thirlmere. Wyth Burn runs through a secluded hanging valley through an area called The Bog. I’ve walked down here a few times and at first glance it looks dry – they didn’t name it The Bog for nothing – it is extremely wet. It doesn’t matter how high you walk to avoid it – you can’t! We were wet above the gaiters by the time we got back and it was tough on the ankle. Brysons here we come, another beautiful hot day in Keswick but back to work tomorrow.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Managing Director Kristalina Georgieva, European Central Bank President Christine Lagarde, Federal Reserve Chairman Jerome Powell, Minister of Finance of Indonesia Sri Mulyani, and Prime Minister of Barbados Mia Mottley participate in the Debate on the Global Economy during the 2022 Spring Meetings at the International Monetary Fund.
IMF Photo/Cory Hancock
21 April 2022
Washington, DC, United States
Photo ref: CH220421126.arw
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Managed to sneak this shot in between breaks in the clouds tonight. The full Flower Moon which also happened to be a "seasonal" Blue Moon.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
The TT manages to look both modern and a bit retro (reminiscent of 'thirties Auto Union racing cars) at the same time. Audi spoiled the car's lines by adding a spoiler. A number of crashes on the German motorway made it clear that the car became unstable at high speed (in excess of 180 km/h), which forced Audi to make changes.
International Monetary Fund Managing Director Christine Lagarde speaks at the Plenary session during the IMF/World Bank Annual Meetings October 13, 2017 at the IMF Headquarters in Washington, DC. IMF Staff Photo/Stephen Jaffe
盧啟源 & 彭子傑先生 香港火狗電腦娛樂有限公司(火狗工房)營運總監 Mr. Gabriel PANG Managing Director, Firedog Computer Entertainment Limited (a.k.a. Firedog), Hong Kong
Managing Director Kristalina Georgieva is participates in a panel titled “Natural Disasters and Climate Change: Building Resilience Through Adaptation” with IMF Chief Economist Gita Gopinath, Prime Minister of Barbados Mia Mottley, and Minister of Economy and Finance of Madagascar Richard Randriamandrato moderated by Bloomberg’s Haslinda Amin from the International Monetary Fund.
IMF Photo/Cory Hancock
16 June 2021
Washington, DC, United States
Photo ref: CH210616115.arw
International Monetary Fund Managing Director Christine Lagarde and best-selling author Michael Lewis hold a one on one discussion in the Atrium of the IMF Headquarters October 9, 2016 in Washington, DC. The discussion was part of the IMF/World Bank Annual Meetings events. IMF Staff Photo/Stephen Jaffe
St Martin, Acrise.
A friend managed to get inside a week or so ago, and I have been wanting to return some time, so I checked online and found that St Martin is now open 10 - 4 every day.
I rushed out, and found it was indeed unlocked.
Set down a track through a wood, past some old cricket nets, which was part of an old minor country house, and there is St Martin, sitting in its churchyard, bellcote at the west end, looking peaceful.
A warden was weeding the path, welcomed me to the church, and confirmed it is open every day thanks to someone living in one of the flats in the once grand house.
Always great views from the gallery where the organ now takes most of the space.
A fine church, with several monuments, although the electric lights were impossible to find, then I noticed candles everywhere.
Another step nearer normal.
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ACRISE.
LIES the next parish south-eastward from Eleham. It is written in the survey of Domesday, Acres, taking its name from its high situation, and the plenty of oak trees growing in it. It is vulgarly called by the common people in the neighbourhood, Awkeridge, by which name I have sometimes seen it written, both in wills and deeds. The north-east part of it, in which part of the manor of Brandred lies, is in the hundred of Folkestone, and the remainder of it within this hundred of Loningborough.
Acrise is an obscure parish, which, like all the others on these hills, is, though poor, exceedingly healthy. It is situated great part of it on high ground, in a wild, dreary and flinty country, among those hills which are here very frequent and steep. It is rather more than two miles long, and about one mile broad. In the south-west part of it, encircled by a large grove of trees, is Acrise-court, a respectable brick mansion, seemingly of the age of Henry VII. and almost close to it, on the north side of the church, about a mile from which stands the parsonage, and a small hamlet of houses round Acrise-green. At some distance further is Hode, the house of which is built of stone, with arched windows and doors of the gothic form, belonging to Mr. Nicholas Marsh, of Eleham; and at the northern boundary of the parish is the hamlet of Brandred, near which there is some coppice wood. The large heath, called Swinfield minnis, extends along the eastern side of this parish, part of which is within the bounds of it. The soil is mostly a red earth, mixed with quantities of flints, the rest of it is chalk, a barren unfertile soil.
There is a fair held here, on the Tuesday next after Oct, 10, yearly.
Acrise, at the time of taking the general survey of Domesday, was part of the possessions of the bishop of Baieux, under the general title of whose lands it is thus entered in it:
In Nuniberg hundred, Anschitil de Ros holds of the bishop, Acres, which two brothers held, and each had a balimote; now it is for one manor, and it was taxed for one suling. The arable land is two carucates. In demesne there is one carucate and an half, and five villeins, with five borderers having one carucate. Wood for the pannage of ten hogs, aud a church. In the time of king Edward the Confessor it was worth forty shillings, and afterwards thirty shillings, now sixty shillings.
Four years after the taking of the above survey, the bishop of Baieux was disgraced, and all his possessions were confiscated to the crown; upon which the seignory of this manor seems to have been immediately granted to the above-mentioned Anschitil de Ros, the mesne tenant of it, who thenceforward became lord paramount, holding it immediately of the crown in capite. Of his descendants this manor was again held by the family of Cosenton, or Cossington as they were sometimes spelt, who resided both here and at Cosenton, in Aylesford.
This manor of Acrise, alias Okeridge, was granted to them to hold of the barony of Ross, as of the manor of Horton Kirkby, which seems to have been the chief manor of that barony, and in imitation of whose arms, Or, three roses, gules, the Cosentons bore Azure, three roses, or. Sir Stephen de Cosenton possessed it in the 7th year of Edward III. and that year obtained a charter of free-warrenfor his lands in Acrise, Cossyngtone, and Suthbertone. (fn. 1) At length, after it had continued in his descendants till the reign of king Henry VIII. Thomas Cosenton, esq. dying in the beginning of it without male issue, his three daughters became his coheirs, and shared a large inheritance between them; upon the division of which, this manor was allotted to the youngest, Elizabeth, married to Alexander Hamon, esq. who bore for his arms, Azure, three demi lions, passant-guardant, or. He afterwards resided at Acrise-place, as did his grandson Alexander Hamon, esq. who died possessed of this manor in 1613, leaving two daughters his coheirs; Elizabeth married to Sir Edward Boys, of Fredville, and Catherine to Sir Robert Lewknor, to the latter of whom, by his will, he devised this manor and estate. He afterwards resided at Acrise-place, and bore for his arms, Argent, three chevronels, gules. His descendants continued possessed of it till Robert Lewknor his grandson, in 1666, alienated it, with other estates in this neighbourhood, to Thomas Papillon, esq. of Lubenham, in Leicestershire.
The family of Papillon, or Papillion, seems to have been of good account in this kingdom in very early times; for I find Toraldus de Papilion, one of the witnesses to a deed of confirmation of William the Conqueror, to the church of Durham. William Papilion was one of king Edward I.'s faithful servants, and recommended by him to the abbot and convent of Leicester, for a corodie from that house in the 31st year of his reign. (fn. 2) And from him it is very probable the Papillons, of Lubenham, in that county, derive their descent and first settlement in it. Thomas Papillon, of Lubenham, the purchaser of this manor, was an eminent merchant of London, for which he served in parliament, as he had before done for Dover, and bore for his arms, Azure, a chevron, or, between three butterflies, or papillons, argent. He was of the Mercers company, to which he gave 1000l. Philip Papillon, his son, served in parliament several times for Dover, and once for New Romney. His first wife was Anne, eldest daughter of William Jolliffe, esq. of Staffordshire, by her he had a son David. He married secondly Susan Henshaw, by whom he had a son Philip, who was of East Malling, and three daughters. David Papillon, the eldest son, was chosen to serve in parliament for New Romney, and for Dover likewise. He was one of the commissioners of excise, and resided both here and at Lee. He died in 1762, leaving by Mary, daughter of Timothy Keyser, esq. of London, a son David, and five daughters. David Papillon, esq. the son, resided at times both here and at Lee, and was one of the commissioners of excise. By his first wife Bridget, daughter of William Turner, of the White Friars, Canterbury, son of William, by Anna-Maria Papillon, he had surviving seven children, Thomas, born in 1757, now lieutenant-colonel in the East Kent battalion of militia, and by his father's gift the present possessor of this manor and seat; Philip, rector of Eythorne, and vicar of Kennington; William, in orders likewise, of Wymundham, in Norfolk, who married the daughter of the Rev. Richard Drake, of that parish; John-Rawsterne, vicar of Tunbridge, and George, Elizabeth and Sarah. He married secondly Hester, daughter of the Rev. Dr. Curteis, of Sevenoke, and prebendary of Canterbury; by his second wife, who died s. p. in 1782. Thomas Papillon, esq. the eldest son above-mentioned, the present possessor of this manor, married Anne, daughter of Henry Pelham, esq. and now resides at Acriseplace.
Brandred is a manor, in the north-east part of this parish, having a hamlet of its own name within it, which, at the time of taking the general survey of Domesday, seems to have been part of the possessions of the canons of St. Martin's priory, in Dover, under the description of which it is entered thus: The land of Brandet pays twenty shillings and six-pence to St. Martin in alms. And a little below, under the same title of their possessions: Among the common land of St. Martin there are, among others, one hundred acres of land at Brand which acquit themselves, that is, are free from payment of custom and scot.
This manor continued part of the possessions of the church and priory of St. Martin above-mentioned, till its dissolution in the 27th year of the reign of king Henry VIII. when it was suppressed, as not having revenues to the amount of the clear yearly value of two hundred pounds, those of this priory not amounting to more than 170l. 14s. 11d. clear yearly income, and was surrendered that year, with all its lands and possessions, to the king's use. But they did not remain long in the hands of the crown, for the king, in his 29th year, granted the scite of the priory. with all lands and possessions belonging to it, except the patronage of certain churches mentioned in it, in exchange to archbishop Cranmer, (fn. 3) in whose successor, they have continued to the present time, his grace the archbishop being now entitled to the inheritance of it.
In the hamlet of Brandred, is an estate, the house of which, though now only a farm-house, was, as early as queen Elizabeth's reign, the property and residence of the Marsh's, descended from those of Marton, in East Langdon, and it continued so down to T.Marsh, of Brandred, who died in 1664, leaving by Anne, daughter of Thomas Nethersole, of Nethersole, in Wimlingswold, a son, John Marsh, who in 1665, removed thither, in whose descendants it has continued down to John Marsh, esq. of Salisbury, afterwards of Nethersole, who is the present possessor of this estate, but now resides at Chichester, in Sussex.
Charities.
A person unknown gave land in this parish, for the benefit of the poor, now of the annual value of 1l. occupied at present by John Sharp.
The poor constantly relieved are about eleven, casually nine.
Acrise is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of Eleham.
¶The church, which is dedicated to St. Martin, is but small, consisting of only one isle and one chancel, having a tower at the west end, with a low turret on it, flat at top, in which there is one bell. The church is kept very neat. In the chancel, on a stone, is a memorial and figure of a woman in brass, for Mary, wife of Peter Heyman, esq. daughter and coheir of William Tirrill, esq. of Essex, obt. 1601. On a stone, a memorial in brass, for Alexander Hamon, esq. obt. 1613. A monument for William Turner, esq. late of Grays-Inn, obt. 1729; married Anna-Maria, daughter of Thomas Papillon, esq. obt. 1738; arms, Turner, argent and ermine, three fer de molins, sable, a pale counterchanged in fess, on a chief, or, a lion rampant-guardant, between two roses, gules, impaling Papillon; and a monument for Anne, late wife of Mr. Philip Papillon, of London, merchant, eldest daughter of William Jolliffe, esq. obt. 1693. There are many hatchments of the Papillon family round the isle; between which and the chancel there is a large pointed arch, with zig-zag ornaments.
This church was given, about the reign of king Henry II. by William de Cosenton, lord of the manor of Acrise, to the priory of Leeds, to which the patronage of it afterwards belonged; but it never was appropriated, and archbishop Baldwin, who lived in that reign, granted out of it to the priory an annual pension of forty shillings. In which state the patronage of it continued till the dissolution of the priory, or abbey of Leeds as it was then called, in the 31st year of Henry VIII. when it came, with the rest of the possessions of it, into the hands of the crown, in which it has continued ever since, the king being the present patron of it.
The above-mentioned pension of forty shillings has not been paid since the dissolution of the priory.
This rectory is valued in the king's books at seven pounds, and the yearly tenths at fourteen shillings. In 1588 it was valued at eighty pounds, communicants sixty-eight. In 1640 the like number of communicants, and it was valued at one hundred pounds.
Agenda, Wednesday, June 5
0830 Registration of Participants
0900 Welcoming Remarks
Mr. Ernest Z. Bower
Senior Adviser and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
0915 Presentation: "The South China Sea in Focus"
Mr. Gregory Poling
Research Associate, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
0945 Break
1015 Significance of the South China Sea Dispute
Speakers:
Dr. Patrick M. Cronin
Senior Advisor and Senior Director, Asia-Pacific Security Program
Center for a New American Security
Mr. Alexander Metelitsa
Economist
Energy Information Administration, U.S. Department of Energy
Mr. Murray Hiebert
Deputy Director and Senior Fellow, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1145 Break for Lunch
1200 Luncheon & Keynote Speech
Keynote Address:
Mr. Joseph Y. Yun
Acting Assistant Secretary for East Asian and Pacific Affairs
U.S. Department of State
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1315 Break
1330 Recent Developments in the South China Sea
Speakers:
Dr. Wu Shicun
President
National Institute for South China Sea Studies
Dr. Renato C. De Castro
Professor
De La Salle University
Dr. Yann-Huei Song
Research Fellow
Institute of European American Studies
Dr. Tran Truong Thuy
Director, South China Sea Studies Program
Diplomatic Academy of Vietnam
Moderator:
Mr. Murray Hiebert
Deputy Director and Senior Fellow, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1500 Break
1515 South China Sea in Regional Politics
Speakers:
Amb. Hemant Krishan Singh
Wadhwani Chair in India-U.S. Policy Studies
Indian Council for Research on International Economic Relations
Vice Admiral Hideaki Kaneda, JMSDF (ret.)
Director, The Okazaki Institute
The Japan Institute for International Affairs
Dr. Carlyle A. Thayer
Emeritus Professor
University of New South Wales, Australian Defense Force Academy
Dr. Donald K. Emmerson
Director, Southeast Asia Forum
Stanford University
Moderator:
Mr. Murray Hiebert
Deputy Director and Senior Fellow, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1700 End of Day One
Agenda, Thursday, June 6
0800 Registration of Participants
0900 Role of International Law in Managing the Disputes
Dr. Xinjung Zhang
Associate Professor of Public International Law
Tsinghua University Law School
Mr. Henry S. Bensurto, Jr.
Secretary General, Commission on Maritime and Ocean Affairs Secretariat
Department of Foreign Affairs, Philippines
Dr. Peter Dutton
Professor and Director, China Maritime Studies Institute
U.S. Naval War College
Dr. Nguyen Dang Thang
Vietnam Lawyer’s Association
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1030 Coffee Break
1045 Policy Recommendations to Boost Cooperation in the South China Sea
Ms. Bonnie S. Glaser
Senior Adviser for Asia, Freeman Chair in China Studies
Center for Strategic and International Studies
Mr. Leonardo Bernard
Research Fellow, Centre for International Law
National University of Singapore
Mr. Christian Le Miere
Senior Research Fellow for Naval Forces and Maritime Security, Defense and Military Analysis Program
International Institute for Strategic Studies
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1215 End of Conference
International Monetary Fund Managing Director Christine Lagarde holds her press conference October 8, 2015 during the 2015 IMF/World Bank Annual Meetings in Lima, Peru. IMF Staff Photo/Stephen Jaffe
My dad managed to locate this old man to get our sewing machine repaired/serviced as it was not working as intended.
The man you see in the picture is 85 years old, and he was a school teacher for the better part of it. Make no mistake, he knows everything there is to know about sewing machines. He patiently disassembled the entire sewing machine into its basic components, cleaned each and every one of them, all the while explaining to my dad their functions and roles, and assembled the whole sewing machine again. All this took around 4 hours.
I can only hope to be as intelligent and as active as he is when I'm 85 years old.
2016 IMF/World Bank Annual Meetings African Caucus and Governors' Meeting with the IMF Managing Director on Sunday, October 9 in Washington, D.C. Ryan Rayburn/IMF Photo
On my third try, I managed to find the male Summer Tanager in Reid Park Tucson, Arizona. 30 January 2017.
The only completely red bird in North America, the strawberry-colored male Summer Tanager is an eye-catching sight against the green leaves of the forest canopy. The mustard-yellow female is harder to spot, though both sexes have a very distinctive chuckling call note. Fairly common during the summer, these birds migrate as far as the middle of South America each winter. All year long they specialize in catching bees and wasps on the wing, somehow avoiding being stung by their catches. www.allaboutbirds.org/guide/Summer_Tanager/id
Managed to get a shot without the many people that were there on the day. First attempt at any kind of long exposure.
Managing Director and Chief Operating Officer of the World Bank, Sri Mulyani Indrawati, visits projects in Brazil. She watched a dance presentation at Complexo do Alemao slum, which struggled with drug trafficking violence for 30 years. Residents now enjoy better schools, health facilities, and transport services. Photo: Marco Antonio Teixeira / World Bank
International Monetary Fund's Managing Director Christine Lagarde along with Jeremy Allaire, Benoit Coeure, Patrick Njoroge, and Sarah Youngwood talk about Money and Payments in the Digital Age at the IMF Headquarters during the 2019 IMF/World Bank Spring Meetings April 10, 2019 in Washington, DC. IMF Staff Photograph/Stephen Jaffe
Managing Information Overload. This additional map by Microsoft Master Trainer, Kaye Nightingale, also demonstrates the integration of MindManager and Microsoft Office. See the October 18th posting at ideamapping.ideamappingsuccess.com/ for full details.
The Managing Director of the International Monetary Fund, Christine Lagarde, will today begin her three day visit to Rwanda, her first since she came to the helm of the institution in 2011. In an e-mail correspondence with The New Times’ Kenneth Agutamba, Lagarde sheds light on her institution’s current relationship with Rwanda and commends the country’s transformative and inclusive policies that have seen a significant decline in poverty levels.
You come here 20 years after the 1994 Genocide against the Tutsi. In your view, what has been the trigger for Rwanda’s rapid economic renaissance?
My main message to Rwanda is that “Good policies pay off.” Let me set this in a broader context by saying that I am very happy to have the opportunity to visit Rwanda at such a pivotal moment in its history. The horrific events that occurred 20 years ago tore the social and economic fabric of the country, and it is uplifting to see the progress in rebuilding, in peace efforts, and in improving the welfare of all Rwandans.
This truly is an example in terms of social and economic transformation. It proves that effective policies and inclusive growth can be transformational.
The economic performance has been remarkable, with strong annual growth for the past 15 years. This has helped Rwanda make progress towards achieving the Millennium Development Goals. The poorest have benefited from a focus on inclusive growth, with the poverty rate falling to 45 per cent of the population in 2011 from 60 per cent in 2000.
Of course, this rate is still high, but it is definite progress and we see the trend continuing. So, while there has not been a magic bullet or a single trigger, a holistic approach, that also included a focus on the agricultural sector, employment, and gender equality, has been instrumental in sharing the fruits of high growth more widely.
What is the status of IMF relations in Rwanda at present?
We have a very close economic policy dialogue and the IMF is currently supporting the government with a Policy Support Instrument (PSI) – designed for low-income countries that have graduated from financial support but still seek to maintain a close policy dialogue.
The PSI signals the strength of a country’s policies to donors, multilateral development banks, and markets. We also provide technical assistance as part of the Fund’s efforts to increase local capacity and know-how. We have an office in Kigali, where a resident representative, currently Mitra Farahbaksh, ensures our presence in the field.
Rwanda’s PSI, which is in its second year, supports Rwanda’s own policy priorities for strong and inclusive growth, with an emphasis on domestic resource mobilization, private sector development, export diversification, regional integration, and financial sector development.
We recently reviewed this programme and welcomed the country’s continued strong performance. We also agreed with the government that more work needs to be done to further reduce Rwanda’s reliance on aid and increase its resilience to external shocks.
What is your economic outlook for the country between now and 2020?
Our outlook for Rwanda is positive. The economy is recovering from a weak performance in agriculture and delays in related project implementation in recent years. Growth rebounded last year and inflation remains well contained. We expect GDP growth rates to rise gradually towards 7-7.5 per cent in the medium term, while inflation remains within the medium-term target of 5 per cent.
I am particularly impressed with the government’s continued commitment to poverty reduction.
As part of my stay here, I will be visiting the Agaseke Handicraft Cooperative and the ICT hub (knowledge Lab) in Kigali to see firsthand how the government has managed to improve the welfare of vulnerable and disadvantaged groups such as women and youth.
As your readers are aware, the Economic Development and Poverty Reduction Strategy for 2013–18 focuses on economic transformation, rural development, and youth employment. The strategy is rightly aimed at further reducing poverty.
I think that the continued rollout of planned measures and the successful inclusion of the private sector in leading economic development will help make sizeable inroads in making growth even more inclusive and in reducing inequality.
In a recent advisory by the IMF Board, they encouraged Rwanda to widen its tax base and put emphasis on domestic revenue sourcing. What is your advice on this?
We are devoting a significant portion of our technical assistance to support Rwanda’s efforts to reduce its dependence on foreign aid. The focus is appropriately on widening the tax base – not higher taxes, but all paying a fair share.
The government has already made significant progress in the areas of revenue administration.
The push to increase the number of registered VAT payers through the introduction of electronic billing machines, and the switch in the collection of local taxes and fees from the local governments to the revenue authority, should be useful in bringing more businesses under the tax system.
The introduction of tax regimes for agriculture and mining, and improvements in property taxation, should also help achieve the goal of providing budgetary resources for key expenditures, particularly those aimed at scaling up social spending and infrastructure in a context where donor resources are likely to be limited.
Lately, Rwanda has taken to raising money through bonds, do you think this is viable?
Rwanda’s successful Euro-bond issuance in 2013 demonstrated that market financing can play a complementary role in financing investment plans. Several other African countries have followed suit over the past year.
The key is to ensure that Rwanda’s debt remains sustainable. I welcome the government’s commitment to fully explore concessional financing options and private sector participation before considering the use of non-concessional resources.
At the same time, the government’s decision to begin issuing domestic currency bonds in 2014 was an important step in the process of developing and deepening local capital markets.
www.newtimes.co.rw/section/article/2015-01-26/185319/
Creating jobs remains a high priority for this country, but as you know the private sector is also still young. What should Rwanda do to address these two issues?
On private sector development, Rwanda’s potential depends critically on full implementation of ongoing reforms to attract foreign investment and boost exports. These include reducing the cost of doing business; improving infrastructure; supporting skills development; and tapping into regional markets.
The increased provision of lower-cost electricity and improved transportation should help facilitate diversification and business development.
On creating jobs, the government has identified three key priorities: skills development, the fostering of entrepreneurship for small- and medium-sized enterprises, and supporting household enterprises. We at the Fund share this emphasis on building the capacity of Africa’s greatest resource–its people. Increased investment in infrastructure can help put people to work.
The IMF’s latest Regional Economic Outlook for Sub-Saharan Africa projects regional GDP growth to pick up from about 5 per cent in 2013/14 to 5.75 per cent in 2015. That isn’t a big leap, is it? Can you elaborate on this?
Sub-Saharan Africa has made impressive progress over the past two decades, with growth averaging around 5 per cent. We expect that to continue in 2015, despite the impact of lower oil prices on some of Africa’s major oil exporting economies.
So there has been real progress, as growth has allowed for reducing poverty and improving living conditions.
For example, the number of people living on less than $1.25 a day in Africa has fallen significantly since 1990. But extreme poverty remains unacceptably high and not all countries are making progress. Some countries are still facing internal conflict and/or fragility.
Looking ahead, there are a number of longer-term demographic, technological and environmental challenges that need to be addressed in order to realise the ‘big leap’ that you refer to.
For instance, how can we tap into the productive capacity of Africa’s youth? How can Africa take advantage of technological innovation?
And how can we address the implications of climate change? Three broad policy priorities are crucial: building infrastructure, building institutions, and building people. Africa must also strengthen its institutional and governance frameworks to better manage its vast resources.
But the focus must be on people—with programmes aimed at boosting health and education and other essential social services. In fact, Rwanda is one of the countries that are effectively implementing policies in many of these areas.
The Ebola outbreak in West Africa has dealt a major blow to several African economies in the region. Can the effects of this blow spread to other parts of the continent?
The Ebola outbreak is a severe human, social and economic crisis that requires a resolute response. And the focus must be on isolating the virus, not the countries.
Strong efforts are underway in Guinea, Liberia and Sierra Leone, but it is unlikely to be brought under control before the second half of 2015.
The economic outlook for these countries has already worsened since September, when the IMF disbursed $130 million to the (three) countries to boost their response to the outbreak.
If the outbreak remains limited to the three countries, the economic outlook for the rest of sub-Saharan Africa remains favourable. Some neighbouring countries like The Gambia have seen an impact on tourism.
We are working with the governments of the three affected countries to provide additional interest-free financing of about $160 million, and expect our Board to make a decision in the next few days.
Following the endorsement by the G-20 leaders in Australia, we are also looking at further options to provide additional support to the Ebola-hit countries, including through the provision of donor-supported debt relief.
International oil prices have been tumbling, is this good for Rwanda and the other members of the EAC?
Indeed, oil prices have fallen recently, affecting both oil producers and consumers. Overall, we see the price decline as positive for the global economy. As an oil importer, Rwanda and indeed the East Africa region should benefit given that lower prices will most likely have a positive impact on growth whilst also easing inflation.
Countries can make use of this window of opportunity to reduce universal energy subsidies and use the savings toward more targeted transfers that benefit the poor.
Recently, the East African Community, a regional bloc to which Rwanda subscribes, reached a landmark Economic Partnership agreement (Epa) with Europe. Do you think that these countries need such agreements?
The EPA is designed to enhance commercial and economic relations, supporting a new trading dynamic in the region and deepening cooperation in trade and investment. It can serve as an important instrument of development in many respects.
It can promote sustained growth, increase the productive capacity of EAC economies, foster diversification and competitiveness, and, of course, boost trade, investment and employment. Rwanda is a key member of the EAC that has worked hard to create a conducive and transparent business environment. So it should benefit from this agreement.
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About Lagarde
Christine Lagarde assumed the mantle of the International Monetary Fund in July 2011. A Frenchwoman, she was previously French finance minister from June 2007, and had also served for two years as France’s minister for foreign trade.
Lagarde also has had an extensive and noteworthy career as an anti-trust and labour lawyer, serving as a partner with the international law firm of Baker & McKenzie, where the partnership elected her as chairman in October 1999.
The IMF is an organisation of 188 countries, working to foster global monetary cooperation, secure financial stability, facilitate international trade, promote high employment and sustainable economic growth, and reduce poverty around the world.
Photos : Jack Yakubu (Jack Nkinzingabo)
International Monetary Fund Managing Director Christine Lagarde speaks at George Washington University in Washington, DC October 3, 2013. Countries will need to adopt strong national policies and work together even more closely to manage new transitions under way in the global economy said in her speech at George Washington University ahead of the 2013 World Bank-IMF Annual Meetings.IMF Staff Photograph/Stephen Jaffe
I managed to adapt 3 eminent lenses from old fixed-lens rangefinder cameras on my Panasonic Lumix DMC-G5 using a M42 helicoid and M42/C-M4/3 adapter.
The first one is from a Beauty Lightomatic. A Biokor-S 1.9/45. The aperture mechanism is intact . Very contrasty. Colour rendition is perfect wide open. Stopping it down makes shows what great lens the Biokor is. It is perfect for both videos and stills.
The other one is the famed Xenon 2/50 lens from Kodak Retina II Type 011. I fixed the shutter at bulb mode by stretching a rubber to the lever. The stepless and loudless aperture mechanism is operable. My example's coating is worn off and it has a grey tint. The image is kinda cinematic and foggy. Sharpness is very good if stopped down. Can't say that i liked it.
Lastly the well known Rokkor 1.7/45 lens from Hi-Matic 11 - Super Circuit. The Hi-Matic series have all great lenses. But being the first lens of the tear-down, dismantle, learn process victimized it a little. The aperture mechanism was remowed. Despite that i can say that i liked it. Definitely usable in low-light videos. The contrast is low but it is sharp enough. Though, still not better than the Biokor.
For the test video:
Managed to get a picture of the lunar eclipse last night, not too sharp as there was a lot of moisture in the air and I only have a 200mm lens
Vienna Business School
Legal form - funds
Seat Wien 4, Schwarzenbergplatz 14
Head Dr. Rainer Trefelik (chairman), Mr. Martin Göbel (managing director)
Business school operators
Website www.vienna -business school.at
The Vienna Businnes School is a term for educational institutions with an economic focus, which are operated by the Fund of the Viennese Merchants (Wiener Kaufmannschaft) in Vienna and Mödling.
Overview
Under the umbrella brand name Vienna Business School, by the Funds Wiener Kaufmannschaft six commercial colleges and six trade schools are operated . Furthermore, commercial colleges , an advanced course as well as the in cooperation with the Vienna Chamber of Commerce founded higher educationals courses of the Vienna Economy (Wiener Wirtschaft) are offered. The minority interest in the Humboldt institutions is a further commitment in the field of education.
According to the statutes of the Funds of the Wiener Kaufmannschaft these educational institutions are expressly operated with the aim to educate economically competent junior staff for the Viennese economy. The establishment of the graduate network the Vienna Business Circle serves the members even after the conclusion as an information and communication platform.
The Funds of the Wiener Kaufmannschaft began in 1954 in the area of the schools with a building and renovation program that is consistently continued in the following years. The 3-year economic education of the business school offers the best basis for professional practice in all branches of business and management. English as a foreign language is part of the curriculum, a second modern foreign language can be chosen freely. Here, too, the focus is put on key course elements such as entrepreneurship or information technology. Practical experiences in practice firms and communication and presentation training are integrated into the teaching. Another part of the education are voluntary work placements, accredited IT and language certificates can be obtained separately.
As biggest private school holder next to the Catholic Church, the funds with its offers and services in the field of business-oriented education and training is a leading operator in Austria. Under the umbrella branch name Vienna Business School six commercial colleges, three colleges, two advanced courses, two HAK Plus as well as six business schools in Vienna and Lower Austria are operated, all of which offering a robust economic formation and continuing education with different focal points.
Educational offering
Currently priorily commercial colleges and trade schools are run. In detail, these are:
HAK/HAK I Akademiestraße
HAK II/II HAS Hamerlingplatz
III HAK/HAS III Schönborngasse
HAK/HAS Augarten
HAK/HAS Floridsdorf
HAK/HAS Mödling
College of Arts Management at the VBS Akademiestraße
Commercial College - City Tourism & Event Management
HAK Plus - Schönborngasse & Mödling
History
The Business Academy Vienna (after Prague) was founded in 1857 as the second commercial academy in Austria-Hungary, in the following year, the class began with 5 teachers and 59 students. The first president of the Academy of Commerce was Friedrich Schey of Koromla. The building of the Commercial Academy in the Akademiestraße near the Karlsplatz was designed by the architect Ferdinand Fellner the Elder and completed in 1862.
The New Vienna Commercial Academy was founded by the Vienna Mercantile Association in 1905. The school building was built 1906-1907 at Hamerlingplatz after the design of Julius and Wunibald Deininger. Also in 1907, by the physicist Dr. Olga Ehrenhaft-Steindler the first Viennese Commercial Academy for Girls was established in the Schönborngasse. In the other business schools girls were not taught until 1921 and in separate classes.
The Vienna Commercial academies were taken over by the Board of the Vienna merchants in the 1920s, in the period 1940 to 1954 the city of Vienna took over the sponsorship. All Vienna Commercial Academies were introduced after 1952 in the newly established funds of the Wiener Kaufmannschaft and received in doing so new names: Trading Academy was renamed HAK I, the New Business Academy in HAK II, the Vienna Commercial Academy for Girls in HAK III. 1957 was set up in what was then the district of Vienna Mödling (it now belongs to Lower Austria) another commercial academy in a former trade school, the HAK IV.
Since 1997, trade academies operate under the name Vienna Business School.
Prominent students and graduates
Listed are prominent graduates (main factor is the prominence), with completion date if known.
Graduates of the Commercial Academy in Vienna before the First World War
Ekkehard Arendt (actor)
Franz Josef Brakl (opera singer and theater director)
Hugo Breitner (finance politician), 1893
Richard Eybner (actor)
Walther Federn (economist, economic journalist )
Franz Gallent (politician, SDAP )
Andre Gassner (Industrial)
Josef Hellauer (forerunner for the establishment of business economics as a science), 1894
Emil Justitz (actor)
Leo Lania (writer )
Henry Lehrman (actor and producer)
Julius Linder (politician, SDAP )
Georg Luger (inventor)
Leopold Mayer (economist)
Josip Murn (lyricist)
Hans Schürff (politician)
Hanus Schwaiger (painter and educator)
Ernst Stern (set designer)
Arthur von Scala (engineer, economist)
Karl Weller (politician, VF)
Graduates of business colleges of Vienna after the First World War
If known, the number of the business academy is included.
Otto Basil (writer)
Carlo Böhm (actor)
Otto Broschek (founder Gebro Pharma), 1921 at the Business Academy I
Fritz Hungerleider (religious scholar, Buddhist) - nomen est omen - starveling!
Eduard Klein (writer)
Leo Kofler (philosopher)
Hans Lang (composer)
Otto Sagmeister (politician, SPÖ)
Otto Schweda (politician, SPÖ ), 1937
Graduates of business colleges of Vienna after the Second World War
If known, the number of the business academy is included.
Fritz Aichinger (politician, ÖVP)
Michael Amon (writer), at the Business Academy I
Helga Braunsrath (politician), 1962 at the Business Academy III
Bernhard Dworak (politician, ÖVP), 1969 at the Business Academy I
Herbert Eisenstein, 1962 ( politician, FPÖ)
Christine Heindl (politician, Green)
Herbert Hufnagl (journalist)
Radek Knapp (writer)
Heinz Fischer (politician SPÖ, since 2004 President)
Andrea Kuntzl , 1977 (politician, SPÖ)
Michael Ludwig, 1980 ( politician, SPÖ)
Ferdinand Maier (politician, ÖVP), 1971
Lukas Mandl (politician, ÖVP), at the Business Academy III
Michaela Mojzis (politician, ÖVP)
Detlev Neudeck, 1974 (politician, FPÖ/AAF)
Sieghardt Rupp (actor)
Karl Schneider (politician, ÖVP)
Gabriele Tamandl, 1986 (politician, ÖVP)
Desirée Treichl-Stürgkh (publisher), at the Business Academy I
Monika Vana (politician, Green ), 1988 at the Business Academy I
Graduates of the Vienna Business School(s)
Desirée Treichl- Stürgkh journalist
Ingrid Thurnher (ORF ZIB journalist and presenter)
Elisabeth Colditz (cabaret)
Martin Essl (BauMax AG)
Brigitte Jank (Chamber President)
Heinz Kammerer (Wein & Co)
Alexandra Reinprecht (opera singer)
Rudolf Tucek (Vienna International Hotel Management)
Gerhard Weber (anthropologist at the University of Vienna)
Prominent professors and lecturers
(sorted by time)
Adolph Wagner (1858-1863)
Adolf Beer (1858-1868)
Franz Xaver von Neumann Spallart (from 1863)
Rudolf Sonndorfer (from 1872)
Heinrich Friedjung (1873-1879)
Emil Steinbach
Karl Zehden
Otto Neurath (1907-1914)
Wladimir Eliasberg (1928-1937)
Ernst Robetschek (1936-1938)
Erik Arnberger (1946/1947)
Franz Richter
Managing Director Kristalina Georgieva, European Central Bank President Christine Lagarde, Federal Reserve Chairman Jerome Powell, Minister of Finance of Indonesia Sri Mulyani, and Prime Minister of Barbados Mia Mottley participate in the Debate on the Global Economy during the 2022 Spring Meetings at the International Monetary Fund.
IMF Photo/Cory Hancock
21 April 2022
Washington, DC, United States
Photo ref: CH220421098.arw
The Managing Director of the International Monetary Fund, Christine Lagarde, will today begin her three day visit to Rwanda, her first since she came to the helm of the institution in 2011. In an e-mail correspondence with The New Times’ Kenneth Agutamba, Lagarde sheds light on her institution’s current relationship with Rwanda and commends the country’s transformative and inclusive policies that have seen a significant decline in poverty levels.
You come here 20 years after the 1994 Genocide against the Tutsi. In your view, what has been the trigger for Rwanda’s rapid economic renaissance?
My main message to Rwanda is that “Good policies pay off.” Let me set this in a broader context by saying that I am very happy to have the opportunity to visit Rwanda at such a pivotal moment in its history. The horrific events that occurred 20 years ago tore the social and economic fabric of the country, and it is uplifting to see the progress in rebuilding, in peace efforts, and in improving the welfare of all Rwandans.
This truly is an example in terms of social and economic transformation. It proves that effective policies and inclusive growth can be transformational.
The economic performance has been remarkable, with strong annual growth for the past 15 years. This has helped Rwanda make progress towards achieving the Millennium Development Goals. The poorest have benefited from a focus on inclusive growth, with the poverty rate falling to 45 per cent of the population in 2011 from 60 per cent in 2000.
Of course, this rate is still high, but it is definite progress and we see the trend continuing. So, while there has not been a magic bullet or a single trigger, a holistic approach, that also included a focus on the agricultural sector, employment, and gender equality, has been instrumental in sharing the fruits of high growth more widely.
What is the status of IMF relations in Rwanda at present?
We have a very close economic policy dialogue and the IMF is currently supporting the government with a Policy Support Instrument (PSI) – designed for low-income countries that have graduated from financial support but still seek to maintain a close policy dialogue.
The PSI signals the strength of a country’s policies to donors, multilateral development banks, and markets. We also provide technical assistance as part of the Fund’s efforts to increase local capacity and know-how. We have an office in Kigali, where a resident representative, currently Mitra Farahbaksh, ensures our presence in the field.
Rwanda’s PSI, which is in its second year, supports Rwanda’s own policy priorities for strong and inclusive growth, with an emphasis on domestic resource mobilization, private sector development, export diversification, regional integration, and financial sector development.
We recently reviewed this programme and welcomed the country’s continued strong performance. We also agreed with the government that more work needs to be done to further reduce Rwanda’s reliance on aid and increase its resilience to external shocks.
What is your economic outlook for the country between now and 2020?
Our outlook for Rwanda is positive. The economy is recovering from a weak performance in agriculture and delays in related project implementation in recent years. Growth rebounded last year and inflation remains well contained. We expect GDP growth rates to rise gradually towards 7-7.5 per cent in the medium term, while inflation remains within the medium-term target of 5 per cent.
I am particularly impressed with the government’s continued commitment to poverty reduction.
As part of my stay here, I will be visiting the Agaseke Handicraft Cooperative and the ICT hub (knowledge Lab) in Kigali to see firsthand how the government has managed to improve the welfare of vulnerable and disadvantaged groups such as women and youth.
As your readers are aware, the Economic Development and Poverty Reduction Strategy for 2013–18 focuses on economic transformation, rural development, and youth employment. The strategy is rightly aimed at further reducing poverty.
I think that the continued rollout of planned measures and the successful inclusion of the private sector in leading economic development will help make sizeable inroads in making growth even more inclusive and in reducing inequality.
In a recent advisory by the IMF Board, they encouraged Rwanda to widen its tax base and put emphasis on domestic revenue sourcing. What is your advice on this?
We are devoting a significant portion of our technical assistance to support Rwanda’s efforts to reduce its dependence on foreign aid. The focus is appropriately on widening the tax base – not higher taxes, but all paying a fair share.
The government has already made significant progress in the areas of revenue administration.
The push to increase the number of registered VAT payers through the introduction of electronic billing machines, and the switch in the collection of local taxes and fees from the local governments to the revenue authority, should be useful in bringing more businesses under the tax system.
The introduction of tax regimes for agriculture and mining, and improvements in property taxation, should also help achieve the goal of providing budgetary resources for key expenditures, particularly those aimed at scaling up social spending and infrastructure in a context where donor resources are likely to be limited.
Lately, Rwanda has taken to raising money through bonds, do you think this is viable?
Rwanda’s successful Euro-bond issuance in 2013 demonstrated that market financing can play a complementary role in financing investment plans. Several other African countries have followed suit over the past year.
The key is to ensure that Rwanda’s debt remains sustainable. I welcome the government’s commitment to fully explore concessional financing options and private sector participation before considering the use of non-concessional resources.
At the same time, the government’s decision to begin issuing domestic currency bonds in 2014 was an important step in the process of developing and deepening local capital markets.
www.newtimes.co.rw/section/article/2015-01-26/185319/
Creating jobs remains a high priority for this country, but as you know the private sector is also still young. What should Rwanda do to address these two issues?
On private sector development, Rwanda’s potential depends critically on full implementation of ongoing reforms to attract foreign investment and boost exports. These include reducing the cost of doing business; improving infrastructure; supporting skills development; and tapping into regional markets.
The increased provision of lower-cost electricity and improved transportation should help facilitate diversification and business development.
On creating jobs, the government has identified three key priorities: skills development, the fostering of entrepreneurship for small- and medium-sized enterprises, and supporting household enterprises. We at the Fund share this emphasis on building the capacity of Africa’s greatest resource–its people. Increased investment in infrastructure can help put people to work.
The IMF’s latest Regional Economic Outlook for Sub-Saharan Africa projects regional GDP growth to pick up from about 5 per cent in 2013/14 to 5.75 per cent in 2015. That isn’t a big leap, is it? Can you elaborate on this?
Sub-Saharan Africa has made impressive progress over the past two decades, with growth averaging around 5 per cent. We expect that to continue in 2015, despite the impact of lower oil prices on some of Africa’s major oil exporting economies.
So there has been real progress, as growth has allowed for reducing poverty and improving living conditions.
For example, the number of people living on less than $1.25 a day in Africa has fallen significantly since 1990. But extreme poverty remains unacceptably high and not all countries are making progress. Some countries are still facing internal conflict and/or fragility.
Looking ahead, there are a number of longer-term demographic, technological and environmental challenges that need to be addressed in order to realise the ‘big leap’ that you refer to.
For instance, how can we tap into the productive capacity of Africa’s youth? How can Africa take advantage of technological innovation?
And how can we address the implications of climate change? Three broad policy priorities are crucial: building infrastructure, building institutions, and building people. Africa must also strengthen its institutional and governance frameworks to better manage its vast resources.
But the focus must be on people—with programmes aimed at boosting health and education and other essential social services. In fact, Rwanda is one of the countries that are effectively implementing policies in many of these areas.
The Ebola outbreak in West Africa has dealt a major blow to several African economies in the region. Can the effects of this blow spread to other parts of the continent?
The Ebola outbreak is a severe human, social and economic crisis that requires a resolute response. And the focus must be on isolating the virus, not the countries.
Strong efforts are underway in Guinea, Liberia and Sierra Leone, but it is unlikely to be brought under control before the second half of 2015.
The economic outlook for these countries has already worsened since September, when the IMF disbursed $130 million to the (three) countries to boost their response to the outbreak.
If the outbreak remains limited to the three countries, the economic outlook for the rest of sub-Saharan Africa remains favourable. Some neighbouring countries like The Gambia have seen an impact on tourism.
We are working with the governments of the three affected countries to provide additional interest-free financing of about $160 million, and expect our Board to make a decision in the next few days.
Following the endorsement by the G-20 leaders in Australia, we are also looking at further options to provide additional support to the Ebola-hit countries, including through the provision of donor-supported debt relief.
International oil prices have been tumbling, is this good for Rwanda and the other members of the EAC?
Indeed, oil prices have fallen recently, affecting both oil producers and consumers. Overall, we see the price decline as positive for the global economy. As an oil importer, Rwanda and indeed the East Africa region should benefit given that lower prices will most likely have a positive impact on growth whilst also easing inflation.
Countries can make use of this window of opportunity to reduce universal energy subsidies and use the savings toward more targeted transfers that benefit the poor.
Recently, the East African Community, a regional bloc to which Rwanda subscribes, reached a landmark Economic Partnership agreement (Epa) with Europe. Do you think that these countries need such agreements?
The EPA is designed to enhance commercial and economic relations, supporting a new trading dynamic in the region and deepening cooperation in trade and investment. It can serve as an important instrument of development in many respects.
It can promote sustained growth, increase the productive capacity of EAC economies, foster diversification and competitiveness, and, of course, boost trade, investment and employment. Rwanda is a key member of the EAC that has worked hard to create a conducive and transparent business environment. So it should benefit from this agreement.
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About Lagarde
Christine Lagarde assumed the mantle of the International Monetary Fund in July 2011. A Frenchwoman, she was previously French finance minister from June 2007, and had also served for two years as France’s minister for foreign trade.
Lagarde also has had an extensive and noteworthy career as an anti-trust and labour lawyer, serving as a partner with the international law firm of Baker & McKenzie, where the partnership elected her as chairman in October 1999.
The IMF is an organisation of 188 countries, working to foster global monetary cooperation, secure financial stability, facilitate international trade, promote high employment and sustainable economic growth, and reduce poverty around the world.
Photos : Jack Yakubu (Jack Nkinzingabo)
International Monetary Fund Managing Director Christine Lagarde delivers a speech on "The Challenges Facing the Global Economy" at Gaston Hall at Georgetown University October 2, 2014 in Washington, DC. IMF Staff Photograph/Stephen Jaffe
Managing Director Kristalina Georgieva facilitates a discussion on Regional Financing Arrangements during the 2020 Annual Meetings at the International Monetary Fund in Washington, DC, on October 13, 2020. IMF Photo/ Cory Hancock
Managing Director Kristalina Georgieva participates in a zoom call on Mobilizing with Africa during the 2020 Annual Meetings at the International Monetary Fund in Washington, DC, on October 9, 2020. IMF Photo/ Cory Hancock
Managing Director Kristalina Georgieva meets with Administrator of USAID Samantha Power.
IMF Photo/KIM HAUGHTON
24 June 2021
Washington, DC, United States
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Agenda, Wednesday, June 5
0830 Registration of Participants
0900 Welcoming Remarks
Mr. Ernest Z. Bower
Senior Adviser and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
0915 Presentation: "The South China Sea in Focus"
Mr. Gregory Poling
Research Associate, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
0945 Break
1015 Significance of the South China Sea Dispute
Speakers:
Dr. Patrick M. Cronin
Senior Advisor and Senior Director, Asia-Pacific Security Program
Center for a New American Security
Mr. Alexander Metelitsa
Economist
Energy Information Administration, U.S. Department of Energy
Mr. Murray Hiebert
Deputy Director and Senior Fellow, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1145 Break for Lunch
1200 Luncheon & Keynote Speech
Keynote Address:
Mr. Joseph Y. Yun
Acting Assistant Secretary for East Asian and Pacific Affairs
U.S. Department of State
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1315 Break
1330 Recent Developments in the South China Sea
Speakers:
Dr. Wu Shicun
President
National Institute for South China Sea Studies
Dr. Renato C. De Castro
Professor
De La Salle University
Dr. Yann-Huei Song
Research Fellow
Institute of European American Studies
Dr. Tran Truong Thuy
Director, South China Sea Studies Program
Diplomatic Academy of Vietnam
Moderator:
Mr. Murray Hiebert
Deputy Director and Senior Fellow, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1500 Break
1515 South China Sea in Regional Politics
Speakers:
Amb. Hemant Krishan Singh
Wadhwani Chair in India-U.S. Policy Studies
Indian Council for Research on International Economic Relations
Vice Admiral Hideaki Kaneda, JMSDF (ret.)
Director, The Okazaki Institute
The Japan Institute for International Affairs
Dr. Carlyle A. Thayer
Emeritus Professor
University of New South Wales, Australian Defense Force Academy
Dr. Donald K. Emmerson
Director, Southeast Asia Forum
Stanford University
Moderator:
Mr. Murray Hiebert
Deputy Director and Senior Fellow, Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1700 End of Day One
Agenda, Thursday, June 6
0800 Registration of Participants
0900 Role of International Law in Managing the Disputes
Dr. Xinjung Zhang
Associate Professor of Public International Law
Tsinghua University Law School
Mr. Henry S. Bensurto, Jr.
Secretary General, Commission on Maritime and Ocean Affairs Secretariat
Department of Foreign Affairs, Philippines
Dr. Peter Dutton
Professor and Director, China Maritime Studies Institute
U.S. Naval War College
Dr. Nguyen Dang Thang
Vietnam Lawyer’s Association
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1030 Coffee Break
1045 Policy Recommendations to Boost Cooperation in the South China Sea
Ms. Bonnie S. Glaser
Senior Adviser for Asia, Freeman Chair in China Studies
Center for Strategic and International Studies
Mr. Leonardo Bernard
Research Fellow, Centre for International Law
National University of Singapore
Mr. Christian Le Miere
Senior Research Fellow for Naval Forces and Maritime Security, Defense and Military Analysis Program
International Institute for Strategic Studies
Moderator:
Mr. Ernest Z. Bower
Senior Advisor and Sumitro Chair for Southeast Asia Studies
Center for Strategic and International Studies
1215 End of Conference
Businessman on a ladder managing the growth of a money as a dollar sign on stacked books, concept
License at www.paya.com/photos/1110983
Managing Director Kristalina Georgieva joins
Chrystia Freeland, Minister for Finance, Marc
Benioff, Chair and CEO of Salesforce, Larry Fink, Chair and CEO of BlackRock, Brian Moynihan, Bank of America in a discussion on the topic of Implementing Stakeholder Capitalism. The panel discussion was moderated by Gillian Tett, Editor and Chair of Editorial Board, Financial Times.
IMF Photo/Kim Haughton
26 January 2021
Washington, DC, United States of America
Photo ref: KH210126003