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Vathylakas (Greek: Βαθύλακας, Turkish: Derince) is a village in the Famagusta District of Cyprus, located on the Karpas Peninsula. It is under the de facto control of Northern Cyprus.
Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.
Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.
A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.
Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.
Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.
Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.
Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.
The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.
Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.
Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.
By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.
EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.
However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.
On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.
In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.
By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.
In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.
The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.
After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".
As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.
Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.
On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.
The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.
Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.
The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.
Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.
Main articles: Bloody Christmas (1963) and Battle of Tillyria
An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."
In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.
Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.
In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.
Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.
Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.
Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.
The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:
UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.
The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.
By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."
After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.
On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.
The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.
During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.
In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.
Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.
A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.
Miss Violet facing her interviewers, Myrtil, Jimmy, Petra, Becky, Emma and Zaida.
The urchins decided they wanted to hire a grown-up to deal with things they wanted done but couldn't do themselves, because of their child condition.
The interview for Miss Violet Solano was to be set inside the old Imperial Theatre, across from Loki’s Absinthe Café in Babbage Square, to avoid the whole process of blindfolding her before leading her to the hideout.
Becky, Jimmy and Myrtil arrived three minutes before the set time of the interview. Miss Solano was waiting for them, sitting in the front row.
[15:27] Myrtil Igaly: 'ello Miss Vi! You are early!
[15:27] VI : good afternoon Jimmy, Myrtil and Becky
[15:27] Jimmy Branagh: Hoy Miss Vi!
[15:27] Becky Blackcinder: Hullo ma'am!
[15:27] Myrtil Igaly: Good afternoon to you too and thank you for coming
[15:28] VI : so do you wish to interview me here? Or up in your rooms in the attic?
[15:28] Myrtil Igaly: Oh, so you know about those...
[15:28] VI : there is little I miss in this town
[15:28] Becky Blackcinder: I was gonna say, I thought that was a secret! But it's not that hard to find if you look.
[15:29] VI : not if you’re used to using the high road
[15:29] Myrtil Igaly: I had set up the interview here cause our hideout was to be kept a secret but if you know about it heh
[15:29] Becky Blackcinder: Observant is good.
[15:29] Myrtil Igaly: will be quieter up there
[15:29] Myrtil Igaly: Please lead the way!
[15:29] Myrtil Igaly grins
All four then took the dangerous way from the Imperial to the hideout and, once there, settled at the long table. Petra was already there, waiting for them.
[15:32] Myrtil Igaly: Hey Petra!
[15:32] Jimmy Branagh: Hoy Petra
[15:32] VI : very nice really reminds of the one you had in the gut
[15:32] Petra Flax : Hello!
[15:32] Myrtil Igaly: I don't actually remember that one!
[15:32] Myrtil Igaly: But thank you
[15:33] Petra Flax : The one in the gut?
[15:33] VI : hello petra
[15:33] Myrtil Igaly: Alright, so first of all thank you for coming to be interviewed, I know you are a very busy lady.
[15:34] VI : i have my moments of peace
[15:34] Myrtil Igaly: From your note, I gather you understand what we are looking for.
[15:34] Petra Flax lights her pipe
[15:34] Myrtil Igaly: And we will be asking you questions in turn to decide if you would be fit for the job.
[15:34] VI : yes a go between to work with the adults
[15:34] Myrtil Igaly nods
[15:35] Myrtil Igaly: So, if you are ready, I will start.
[15:35] VI : ask away
[15:35] Jimmy Branagh pulls out the notebook, rips a page off and hands to Myrtil
[15:35] Myrtil Igaly grins. "Thanks Jimmy!"
[15:35] Jimmy Branagh then hands blank pages to Petra and Becky
[15:35] Becky Blackcinder peers over the tops of her spectacles, trying to look interrogative.
[15:36] Myrtil Igaly glances seriously at Miss Solano
[15:36] Jimmy Branagh: Welcome!
[15:36] Myrtil Igaly: Miss Violet.
[15:36] Myrtil Igaly: In the note I sent you to ask you to come for an interview, I mentioned that I wanted an information from you, as a show of good will.
[15:37] VI : of course
[15:37] Myrtil Igaly: That would be the name of the urchin from whom you learnt about those interviews.
[15:37] Myrtil Igaly: Could you please provide us with their name?
[15:38] Jimmy Branagh waits, charcoal stick at the ready
[15:38] Myrtil Igaly raises an eyebrow, waiting for the reply
[15:38] VI : I would if I could. But it was Omig who told me about it and he got it from one of our ...... employees, but I’ll look into it
[15:38] Myrtil Igaly nods. "Thank you, that would be most appreciated."
[15:39] Jimmy Branagh scribbles
Emma arrived, running inside and a little short-breathed.
[15:39] Myrtil Igaly: Hey Emma! Glad you could make it!
[15:39] VI : hello emma
[15:39] Jimmy Branagh: Hoy Emma
[15:39] Emma Walsh : Hello
[15:39] Myrtil Igaly taps on Jimmy's shoulder. "Your turn, Jimmy."
[15:39] Jimmy Branagh: Awlroight.
[15:40] Jimmy Branagh: Miss VI, ifn we wos awl at a hoity-toity party, an' th' host offered us urchins Wiggyfish gruel, an' you 'ad a big stick in yer hand, wot would ya do?
[15:40] Myrtil Igaly grins
[15:40] Becky Blackcinder stifles a giggle.
[15:40] VI : that would depend
[15:41] Jimmy Branagh raises an eyebrow ominously
[15:41] VI : were you invited?
[15:41] Jimmy Branagh: Let's say we wos.
[15:41] Myrtil Igaly studies Miss Solano closely
[15:41] VI : than i would complain to our host about his ill treatment of you
[15:42] Jimmy Branagh: Awlroight.
[15:42] Myrtil Igaly nods with a smile
[15:42] Jimmy Branagh: Now let's say we wosn't invoighted
[15:42] Jimmy Branagh: Wot would ya do?
[15:42] VI : attacking him would not improve your, or my reputation with the people you wish to deal with
[15:43] Myrtil Igaly scribbles
[15:43] Jimmy Branagh: Thet wosn't th' question
[15:43] Jimmy Branagh: Wot would ya do?
[15:43] VI : i would offer to pay the host for better food for you
[15:43] Jimmy Branagh: Awlroight.
[15:43] Jimmy Branagh scribbles
[15:43] Jimmy Branagh: Petra?
[15:43] Becky Blackcinder scribbles too, although she might just be doodling.
[15:44] Emma Walsh doesn't have a paper again...
[15:44] Petra Flax : My turn?
[15:44] Jimmy Branagh makes a paper airship and sails it to Emma
[15:44] Myrtil Igaly: Yes Petra, we're asking questions in turn to Miss Violet
[15:44] Myrtil Igaly: But we can skip you for this round if you don't know!
[15:45] Petra Flax : Well my big question is pretty practical. Alligaters
[15:45] Emma Walsh gets her paper and starts drawing Miss Vi as a stick figure rabbit
[15:45] Myrtil Igaly: Oh
[15:45] Jimmy Branagh looks at Petra
[15:45] Myrtil Igaly leans on the table to take a better glance at Petra
[15:45] Petra Flax : How would you deal with a plague of alligators?
[15:45] Jimmy Branagh: Oh okay ....
[15:46] VI : Alligaters?
[15:46] Becky Blackcinder is also doodling.
[15:46] Myrtil Igaly turns to Miss Vi
[15:46] VI : really?
[15:46] Jimmy Branagh: Aligaters in th' sewers mybee
[15:46] Myrtil Igaly: Anything could happen in New Babbage!
[15:47] Emma Walsh : We had clockwork hippos attack once....
[15:47] Petra Flax : Yep… its happened before in other cities…
[15:47] Jimmy Branagh: Yesh
[15:47] VI : well that i think is a matter for public works not public relations
[15:47] Jimmy Branagh: They wos 'orrible
[15:47] Jimmy Branagh: It wos loike Attack of th' Popplefots
[15:47] Jimmy Branagh laughs
[15:48] Myrtil Igaly scribbles a few words and glances interrogatively at Petra
[15:48] VI : i could go to the city and complain
[15:48] Petra Flax pretends to write
[15:48] VI : but not much else
[15:48] Becky Blackcinder: You made that up!
[15:48] Becky Blackcinder: Popplefots I mean.
And finally the last urchin interviewer, Zaida, arrived.
[15:48] Myrtil Igaly: Hey Zaida!
[15:48] Jimmy Branagh: Hoy Zaida
[15:48] Myrtil Igaly: You're lucky Miss Violet, lots of interviewers for you!
[15:48] Jimmy Branagh sails a piece of paper to Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi jim
[15:48] VI : hello Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi miz vi!
[15:48] Zaida Gearbox (zaida.gearbox): me an' miz vi used to be neighbors in wheatstone waterways
[15:48] VI : yes
[15:49] Myrtil Igaly: Alright, try to stay unbiased Zaida!
[15:49] Jimmy Branagh: Nah, Popplefot runs the shoe black factory!
[15:49] Jimmy Branagh: 'ee's fat loike a hippo!
[15:49] Zaida Gearbox (zaida.gearbox) looks for the piece of paper
[15:49] Myrtil Igaly: Are you satisfied with the answer Petra?
[15:50] Petra Flax : Not really no
[15:50] Myrtil Igaly: Oh
[15:50] Petra Flax : but if that's her answer...
[15:50] Petra Flax : heh
[15:50] VI : i am not exactly a slayer of Alligators
[15:50] Jimmy Branagh: Awlrought then. Becky
[15:50] Myrtil Igaly: Well, we'll discuss about that later, let's hear Becky's question
[15:51] Becky Blackcinder: Hmmmm...
[15:51] Jimmy Branagh scribbles note, adding odd cryptic symbols
[15:51] Zaida Gearbox (zaida.gearbox): i gots a question
[15:51] Jimmy Branagh: Wait yer turn
[15:51] Zaida Gearbox (zaida.gearbox) sticks tongue out
[15:51] Myrtil Igaly me giggles
[15:51] Petra Flax snickers
[15:51] Jimmy Branagh chuckles
[15:51] Becky Blackcinder: You knew about the hideout. Which is pretty gear. So...d'you know anything else about the city that could be useful to somebody like me? An' will you tell it to us?
[15:52] Myrtil Igaly nods and turns to Miss Violet, interested
[15:52] Petra Flax scribbles loops, impressed that they actually look like writing
[15:53] VI : wouldn't that be beyond the scope of the proffered position?
[15:53] Myrtil Igaly takes a glance at the other urchins' papers and looks impressed at all the writing on there
[15:53] Emma Walsh draws some stick figure alligators underneath Vi and points arrows saying 'not alligator slayer'
[15:53] Jimmy Branagh shrugs
[15:53] Zaida Gearbox (zaida.gearbox) doodles a bunny with an arrow through its head
[15:53] VI : would be willing to make a full exchange of information?
[15:53] Myrtil Igaly: Yes that's not demanded for the position, but we're not against a few extras!
[15:54] Jimmy Branagh: We're jus' pickin' yer brain, Miss VI. It's perfectly safe!
[15:54] Becky Blackcinder has apparently done the following doodle of Vi:
www.flickr.com/photos/annalisa_shepherd/23449967259/in/da...
[15:54] Petra Flax relights her pipe, looking down at her page, and then to the pages of the others.
[15:54] Becky Blackcinder looks proud
[15:55] Myrtil Igaly: There's no right or wrong answer, Miss Violet, we'll discuss later and decide. We may not even agree with each other ya know
[15:55] VI : true
[15:55] Becky Blackcinder: 'S true. Urchins ain't all that organized.
[15:55] Myrtil Igaly: Your turn Emma!
[15:55] Emma Walsh : Okay, this one should be easy.
[15:56] VI : more here than most
[15:56] Myrtil Igaly smiles at the compliment
[15:56] Emma Walsh : If you weren't a bunny what animal would you be instead? Your inner not bunny?
[15:56] Zaida Gearbox (zaida.gearbox) rolls eyes and shakes head
[15:56] Myrtil Igaly smirks
[15:57] Becky Blackcinder giggles.
Miss Solano stood up abruptly.
[15:57] VI : well i think we're at an end here
[15:57] Myrtil Igaly looks surprised
[15:57] Becky Blackcinder blinks.
[15:57] Myrtil Igaly: Are we?
[15:57] Jimmy Branagh: Hmm?
[15:57] Petra Flax raises her eyebrows
[15:57] Myrtil Igaly: What do you mean Miss Violet?
[15:57] Zaida Gearbox (zaida.gearbox): miz vi don't want to work for us?
[15:57] Zaida Gearbox (zaida.gearbox) offers miz vi a cookie
[15:57] VI : there is nothing better for me to be than a rabbit
[15:58] Myrtil Igaly: Oh
[15:58] Myrtil Igaly: Please don't be offended by the question, it was very innocent.
[15:58] Petra Flax : touch-eeeee
[15:58] Myrtil Igaly: Shhhh Petra!
[15:58] VI : to say other wise is preposterous, and rude
[15:58] Becky Blackcinder: I wish I was somethin' besides a human sometimes.
[15:58] Petra Flax snaps her mouth shut
[15:58] Becky Blackcinder: An' I do know a surprising number of mad scientists, so...
[15:59] VI : very well
Miss Solano sat back on the bench, facing the urchins.
[15:59] Myrtil Igaly: Very true Miss Violet, please forgive us for even thinking you would think otherwise
[15:59] Zaida Gearbox (zaida.gearbox): this is babbage knowing a mad scientist or 10 isn't surprising
[15:59] Zaida Gearbox (zaida.gearbox): if i could be a animal i'd be daisy my dog
[15:59] Zaida Gearbox (zaida.gearbox): then i could lay around in my bed all day
[15:59] Myrtil Igaly whispers to the others. "Ok, avoid the bunny questions!"
[15:59] Petra Flax nods
[15:59] VI : i suppose it would be a badger
[16:00] Myrtil Igaly blinks
[16:00] Emma Walsh : Badgers are awful buggers...
[16:00] Petra Flax : Badgers are pretty great
[16:00] Jimmy Branagh: Okay Zaida?
[16:00] Myrtil Igaly: They're fierce for sure
[16:00] Becky Blackcinder: Opinion is divided on badgers!
[16:00] VI : the ruling family of my home land are badger
[16:01] Zaida Gearbox (zaida.gearbox): miz vi - you a boss lady outside of hear, an' you sometimes employ urchins to carry messages an' packages..... how are you goin' to feel about havin' urchins bossin' you instead of you bossin' us
[16:01] Petra Flax : Good question.
[16:01] Myrtil Igaly hides a smile and dives onto her piece of paper, pencil at the ready
[16:02] VI : well that would depend on whether the orders are in conflict with my business
[16:02] Myrtil Igaly nods slowly
[16:03] Myrtil Igaly: Which would come first in that case?
[16:03] VI : that would depend on your requested action
[16:03] VI : it it was not within the scope of the job your offering
[16:04] VI : i would decline
[16:04] Myrtil Igaly: Understood
[16:04] VI : for example
[16:04] Petra Flax : What’s decline mean?
[16:04] VI : if you asked me to talk to tenk about something fine
[16:05] Myrtil Igaly whispers : that she says "no"
[16:05] VI : if you asked me to kill tenk
[16:05] Petra Flax : Oh
[16:05] VI : well that’s different
[16:05] Myrtil Igaly: Oh of course
[16:05] Petra Flax : Well jeez lady
[16:05] Myrtil Igaly: That wouldn't be something we would ask you to do.
[16:06] VI : of course not
[16:06] Myrtil Igaly: We merely need someone to represent us to deal with other grown-ups
[16:06] Myrtil Igaly: without those grown-ups knowing they're actually dealing with urchins
[16:06] Petra Flax : I mean beat in a sack with a hammer, maybe... but kill is kinda extreme
[16:06] Petra Flax : And what Myrtil said
[16:06] Myrtil Igaly rolls her eyes at Petra
[16:06] VI : and in that capacity i would
[16:06] Myrtil Igaly nods
[16:07] Myrtil Igaly: Here's my second question then.
[16:07] Petra Flax readies her pencil
[16:08] Myrtil Igaly: If you were working for us and we asked you to go talk to Miss Book and get an information about some secret Militia documents. How would you do it?
[16:08] VI : with great difficulty
[16:08] Myrtil Igaly laughs
[16:08] VI : we are not on the best of terms
[16:09] Myrtil Igaly: That's why I asked this question
[16:09] Myrtil Igaly smiles
[16:09] Myrtil Igaly starts drawing circles on her paper
[16:10] VI : and as to getting the information by less than honest means
[16:10] VI : your urchins are as capable as me in that regard
[16:11] Zaida Gearbox (zaida.gearbox) whispers: she paid me a whole dollar to stand around and yell HELLO MIZ BOOK if i seen her once
[16:11] Jimmy Branagh chuckles
[16:11] Myrtil Igaly: Maybe, but I would like to know how you would do it as an indication of what you would be able to do to deal with difficult missions
[16:11] Petra Flax : Depends on the urchin. Tubby ain’t much good at nothin.
[16:12] Jimmy Branagh: 'ee's good at eatin'. Everythin'!
[16:12] Petra Flax : And it was probably him that spilled the beans about this gig
[16:12] Petra Flax : Good point Jimmy.
[16:12] Myrtil Igaly: Tubby you think?
[16:13] Petra Flax nods
[16:13] VI : i would send one of my employees to retrieve the information
[16:13] Myrtil Igaly nods and scribbles
[16:13] Zaida Gearbox (zaida.gearbox): i ain't seen tubby in a long time. i thought creaky got him
[16:14] Jimmy Branagh scribbles
[16:14] Zaida Gearbox (zaida.gearbox) whispers: she'd pay an urchin to do it
[16:14] Petra Flax : That’d keep him fed for a while.
[16:14] VI : sadly the man that would be best at that retrieval is no longer available
[16:14] Jimmy Branagh: Finished, Myrtil?
[16:14] Myrtil Igaly: Yup, go ahead
[16:15] Jimmy Branagh: Miss VI, wos you in Babbage when the Dark Aether fell?
[16:15] VI : no
[16:15] Jimmy Branagh: Awlroight. Never moind then. Petra?
[16:15] Myrtil Igaly chuckles
[16:15] Jimmy Branagh scribbles
[16:16] Petra Flax : Well, I guess it’s no secret you’re sort villainy type… what sorta guarantee can we have that you won’t just lie about all this and do something that is to our detri- detrimu- uh… is bad for us?
[16:17] Petra Flax draws out a hangman, then fills in all the spaces with Xs
[16:17] Myrtil Igaly squints at Miss Violet, waiting for her reply
[16:17] VI : hmmmmmm
[16:17] VI : well that’s the rub isn't it
[16:18] Myrtil Igaly: We could write something about it in the contract, but the question is, do you respect contracts...
[16:18] Petra Flax : The rub?
[16:18] VI : since you consider me a villain, would you trust any promises i made anyway
[16:18] Petra Flax : Like for ribs?
[16:18] Zaida Gearbox (zaida.gearbox): maybe she wants her ears rubbed?
[16:18] Myrtil Igaly smiles at Zaida
[16:19] Zaida Gearbox (zaida.gearbox): gilly like him ears scratched
[16:19] Becky Blackcinder: I've known some trustworthy villians an' some good guys who lie a lot.
[16:19] Myrtil Igaly: That was a good question Petra. This is to take into consideration but it could go both directions anyway
[16:19] Zaida Gearbox (zaida.gearbox) nods in agreement with Becky
[16:19] VI : like that counterfeit count?
[16:19] Myrtil Igaly: Heh
[16:19] Zaida Gearbox (zaida.gearbox): doc O was a villain but him would keep him promises
[16:20] Zaida Gearbox (zaida.gearbox): 'course him usually promised to do bad things
[16:20] Petra Flax : Baloney? He's crackers.
[16:20] Myrtil Igaly: He is, but who isn't in this town?
[16:20] VI : i am a business woman and i hold to contracts
[16:20] Myrtil Igaly: Oh, that's good to know!
[16:20] Myrtil Igaly scribbles
[16:21] Petra Flax pretends to write again, nodding.
[16:21] Myrtil Igaly: Becky, another question?
[16:21] Emma Walsh draws a piece of paper in Vi's hands
[16:21] Becky Blackcinder hmmms. "Okay..."
[16:21] Myrtil Igaly: That's if you have one
[16:21] Myrtil Igaly: not mandatory
[16:21] Becky Blackcinder: Why d'you wanna work for us? What do you like about us? Or is it just a business thing?
[16:21] Jimmy Branagh: Let's move along folks! Get snappy!
[16:22] VI : mostly?
[16:22] Myrtil Igaly nods and turns her head towards Miss violet
[16:22] VI : because it benefits both of us
[16:23] Myrtil Igaly: The question would then be, how does it benefit you?
[16:23] VI : you get someone who can deal with the adults
[16:23] Myrtil Igaly: Right
[16:24] VI : and i get an alliance with the biggest information gathering force in the city
[16:24] Myrtil Igaly: Oh I see * grins*
[16:24] Myrtil Igaly scribbles
[16:25] Jimmy Branagh: Emma
[16:25] Petra Flax nudges Becky to nudge Emma
[16:25] Jimmy Branagh: EMMA!
[16:25] Emma Walsh : Do you have any credi.....proof of your expertise? Things that the adults look for in this town fer respect.
[16:26] Myrtil Igaly glances at Emma
[16:26] Becky Blackcinder scribbles some stuff down.
[16:27] VI : i have a successful business, i have money, i have made considerable donations to the fire brigade, and the militia
[16:27] Myrtil Igaly looks up, wide-eyed
[16:28] Emma Walsh : Errr....I guess that means you look good on paper!
[16:28] VI : yes
[16:28] Emma Walsh guesses that's the right saying and starts doodling dollar signs under her
[16:29] VI : and i helped with the recent Prometheus incident
[16:29] Jimmy Branagh: Zaida has the final question
[16:29] Zaida Gearbox (zaida.gearbox): you gave money to the militia even though miz book don't like you?
[16:29] Jimmy Branagh scribbles
[16:29] Myrtil Igaly scribbles too and starts to regret drawing circles as she's running out of space
[16:30] Zaida Gearbox (zaida.gearbox): ummmmm---- i guess that was my question
[16:30] VI : yes to give to the widows and orphans left by the Militia men that were murdered
[16:30] Zaida Gearbox (zaida.gearbox): oh ok
[16:30] Emma Walsh : Ohhhhh...
[16:30] Petra Flax : Huh.
[16:30] VI : i think she declined to pass it on
[16:30] Myrtil Igaly: That was your question Zaida?
[16:31] Zaida Gearbox (zaida.gearbox): how will you represent us as our embassador
[16:31] VI : well really that depends on what you have in mind
[16:32] VI : have you fully considered what you wish me to do?
[16:32] Petra Flax : Imagine a suit of armor filled with kids
[16:32] Myrtil Igaly starts to wonder what they got themselves into
[16:32] Zaida Gearbox (zaida.gearbox): i mean in helping us with our urchin grow'd up relations
[16:33] Zaida Gearbox (zaida.gearbox): we need a urchin grow'd ups relations office
[16:33] Myrtil Igaly: Yes, that's what we need, except secret one, not official
[16:33] VI : but are you expecting a person to foster better relations with the adults?
[16:33] VI : or just a bigger urchin?
[16:34] Zaida Gearbox (zaida.gearbox): isn't that what a embassador does?
[16:34] Jimmy Branagh: You would be representin' our interests.
[16:34] Petra Flax blinks
[16:34] Myrtil Igaly: To deal with adults who don't want to have nothing to do with us
[16:34] Myrtil Igaly: Have them think they're dealing with you except they're dealing with us
[16:35] Petra Flax : Yeah
[16:35] Jimmy Branagh: We figger 'avin' a representative would be better'n burnin' the' city down
[16:35] Myrtil Igaly chuckles
[16:35] VI : and that’s the thing, for me to do that job i'd need to show a proper front
[16:35] VI : so no activity's that could be seen as dishonest
[16:36] Myrtil Igaly: I s'pose we could be having business with both honest and dishonest grown-ups
[16:36] VI : you need what amounts to a business manager
[16:36] Myrtil Igaly: Hmmm
[16:37] Zaida Gearbox (zaida.gearbox) starts day dreaming about the new buffet at brunel as her tummy rumbles
[16:37] Myrtil Igaly: We're the business managers. What we need is someone willing to do what we tell them to do but also be crafty enough to find how to get the high hand in deals with other people
[16:38] Jimmy Branagh nods
[16:38] Petra Flax nods
[16:38] VI : in short a business manager
[16:38] VI : someone to manage your business with others
[16:39] Myrtil Igaly: Well yes, can call it like that.
[16:38] Myrtil Igaly looks at the other urchins. "Does anyone have another question?"
[16:39] Emma Walsh : Err...no...but I have one for you Myrt when we're done...
[16:39] Myrtil Igaly nods to Emma
[16:38] Petra Flax : Yeah, I got one more… gonna seem silly, but I got my reasons fed asking it. Ok… what’s yer favorite thing about Mayor Tenk?
[16:39] Zaida Gearbox (zaida.gearbox): is likin' tenk a job requirement?
[16:39] Petra Flax : Nope.
[16:39] Myrtil Igaly: won't be in the contract, but Petra has her reasons
[16:39] Petra Flax : Just a question.
[16:39] VI : my favorite thing about tenk
[16:39] Zaida Gearbox (zaida.gearbox): my favorite thing about tenk is him don't take no bullpoo
[16:40] VI : he stays out of other people’s business
[16:40] Myrtil Igaly smirks
[16:40] Petra Flax : Not you Zaida, Miss Vi
[16:40] Petra Flax : And thank you
[16:40] Becky Blackcinder: I like how he's not taller'n me.
[16:40] Myrtil Igaly giggles
[16:40] Zaida Gearbox (zaida.gearbox): imma shorter dan mr. tenk
[16:41] Myrtil Igaly: It's cause you're a shrimp Zaida!
[16:41] Zaida Gearbox (zaida.gearbox) makes rude gesture at myrtil
[16:40] Myrtil Igaly nods. "Thank you Miss Violet. Now would YOU have questions for us?"
[16:41] VI : well i do wonder if you have thought this position through?
[16:41] Myrtil Igaly: Oh yes, are you concerned about it Miss violet?
[16:41] VI : if you know what you need, over what you think you want
[16:42] Myrtil Igaly: We've talked about it, and will talk some more after the interviews. We'll decide as a group so there's always gonna be someone to say if they don't agree and why
[16:43] Jimmy Branagh writes more, and the number 423 next to it
[16:43] Myrtil Igaly: Which will make us think more and more until it's all good
[16:43] VI : if you hire a Representative to deal with the adults they will need to be very public
[16:43] Myrtil Igaly: Not necessarily.
[16:44] Zaida Gearbox (zaida.gearbox): we could hire two people
[16:44] Myrtil Igaly: Just have to look respectable enough or know how to make themselves look that way
[16:44] Zaida Gearbox (zaida.gearbox): someone to be our public face an' someone to be sneaky
[16:44] VI : no they will need to be public any interaction will become known
[16:44] Myrtil Igaly: And yes, we can also do that Zaida
[16:44] Petra Flax : That’s true
[16:45] VI : the action may not be seen to be connected to you but it will be seen by someone
[16:45] Zaida Gearbox (zaida.gearbox) looks confused
[16:45] Myrtil Igaly: Maybe what we would need is a few agents, or a master of disguise
[16:46] Myrtil Igaly: Or someone who can stay veeery discreet
[16:46] Petra Flax : I think she means the Great Builder....
[16:46] Zaida Gearbox (zaida.gearbox): can we hire miz book?
[16:46] Myrtil Igaly raises an eyebrow at Petra
[16:46] Zaida Gearbox (zaida.gearbox): nobody would ever suspect her
[16:46] Myrtil Igaly: Noooo Zaida, she'd never agree
[16:46] VI : take the Count i can see him bragging about every sneaky thing he does for you
[16:46] Emma Walsh laughs
[16:47] Zaida Gearbox (zaida.gearbox): yeah her all noble an' shi--stuff
[16:47] Myrtil Igaly: Well that's for us to judge Miss Violet.
[16:47] VI : as you wish
[16:47] Jimmy Branagh: We need a person capable of bein' both public, an' subtley behoind the scenes. Our shadow hand, as it were.
[16:47] Myrtil Igaly: I understand your concern and thank you for worrying, but we'll manage.
[16:47] Myrtil Igaly smiles
[16:48] Myrtil Igaly: Well I guess we're done if it's good for everyone?
[16:48] Zaida Gearbox (zaida.gearbox) whispers, "i think her right about the Count. him not rowin' wid both oars..."
[16:48] Becky Blackcinder smiles and nodnods.
[16:48] Jimmy Branagh nods
[16:48] Jimmy Branagh: Pass yer papers in please
[16:48] Petra Flax : Yep
[16:48] Emma Walsh : Well with Miss Vi yeah
[16:48] Myrtil Igaly: Miss Violet, thank you again for your time!
[16:48] Jimmy Branagh: Thenks Miss VI
[16:48] Jimmy Branagh smiles
[16:48] Myrtil Igaly: We will let you know our decision after we've made it.
[16:48] Emma Walsh : But need ter talk to you about Mr. Hyde.
[16:48] VI : you’re welcome
[16:48] Becky Blackcinder hands Jimmy her notes, which are mainly doodles.
[16:48] VI : but think well on what you really need
[16:48] Myrtil Igaly nods
[16:48] Myrtil Igaly: We will.
[16:49] Jimmy Branagh collects the sheet, wads them in the notebook and shoves the notebook into his coat
[16:49] Myrtil Igaly: Do you need to be walked back outside?
[16:49] VI : i think i can find my way
[16:49] Myrtil Igaly: Alright! Take care!
[16:49] Jimmy Branagh: 'Ave a good evenin' Miss!
[16: 49] VI : stands on the boards and waves and the men hiding on the roofs move off
[16: 49] Jimmy Branagh whistles, signalling the armed urchins watching from hidden position to stand down
[16:49] Emma Walsh : Hyde blabbed.
[16:49] Myrtil Igaly: Hyde?
[16:50] Emma Walsh : Mr. Hyde
[16:50] Emma Walsh : When we had our big meeting
[16:50] Becky Blackcinder: He would, wouldn't he?
[16:50] Emma Walsh : Discussing Creaky
[16:50] Emma Walsh : And the interviews
[16:50] Emma Walsh : He wasn't sworn to secrecy
[16:50] Myrtil Igaly: Oh yes, he totally would
[16:50] Myrtil Igaly: Dang it
[16:51] Emma Walsh : So he probably told his friends, who told everyone
[16:51] Myrtil Igaly: We gotta have a little chat with Mister Hyde...
[16:51] Becky Blackcinder: He has friends?
[16:51] Myrtil Igaly: hehe
[16:51] Emma Walsh : Err....must have some runnin mates
[16:51] Becky Blackcinder: I mostly only see him when he's passed out on Dr. Jekyll's couch.
[16:52] Myrtil Igaly: Yes not sure he's got many friends
[16:52] Emma Walsh : He's got enough drinking buddies
[16:53] Emma Walsh : And he was sharing some stuff when I stopped by the other night.
[16:53] Myrtil Igaly: Hah!
[16:53] Myrtil Igaly: you're probably right Emma
[16:54] Myrtil Igaly: and if that's him, we need to talk with him, for one, and never to allow him to our secret meetings anymore again
[16:54] Emma Walsh nods
And thus ended the third interview the urchins held to find a “grown-up ambassador”.
Maker: Abraham Bogardus (1822-1908)
Born: USA
Active: USA
Medium: advertisement
Size: 3.25" x 5"
Location: USA
Object No. 2016.721b
Shelf: E-52-MISC-US
Publication:
Other Collections:
Provenence:
Notes: ABRAHAM BOGARDUS (1822 - 1908). "...circa 1845 he learned the daguerreotype process from George W. Prosch in New York City. In 1846 he opened a daguerreian gallery at 363 Broadway, New York City... From 1847 to 1852, he was listed as daguerreotypes at 217 Greenwich Street... In 1849, he also operated a branch gallery at 126 Washington Street, Newark, N.J.; in 1850 - 1851, the branch gallery was listed at 8 Clinton Street, Newark, N.J.... In 1851, Bogardus relocated his New York CIty gallery to 229 Greenwich Street. From 1852 - 1860 he was listed there... In 1862, he refitted the old Root Gallery at 363 Broadway. In 1869 he moved to a new studio at 1153 Broadway, but still maintained the 363 Broadway address as well. From 1868 to 1874 he served as the first president of the National Photographic Association. In 1871 he was listed in partnership with the Bendann Brothers of Baltimore, Md. at 1153 Broadway in New York. The partnership was dissolved in 1873... In 1873 Bogardus made daguerreotypes of band note designs for the American Bank Note Co.... In 1887, he resigned from photography... Bogardus recalled he made and sold some 200,000 daguerreotypes during his 15 to 17 years as a practical daguerreotyper..." (source: Craig's Daguerreian Registry by John Craig)
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Taken at the Practical Classics car show at Caerwys, raising money for the Holywell Community Hospital.
The Wolseley 4/44 was originally designed under the Nuffield Organisation but by the time it was released in 1953 Wolseley was part of BMC. The 4/44 used the 1250 cc XPAW engine a version of the XPAG engine previously seen in the later MG T-type series of cars, but detuned by only having a single carburettor. The power output was 46 bhp at 4800 rpm. The four speed manual transmission had a column change.
The construction was monocoque with independent suspension at the front by coil springs and a live rear axle. The car had an upmarket trim, consisting of a wooden dashboard and leather seats as well as a traditional Wolseley radiator grille with illuminated badge but was expensive at £997.
An example tested by The Motor magazine had a top speed of 73 mph (117 km/h) and could accelerate from 0-60 mph (97 km/h) in 29.9 seconds. A fuel consumption of 27.6 mpg was recorded. It was replaced in 1956 by the similar Wolseley 15/50.
Samsung S1050
Nestled in the heart of Tokyo's bustling Tsukiji district, this vendor shop offers a glimpse into the city’s rich culinary and artisan traditions. Known for its vibrant marketplace atmosphere, Tsukiji is a haven for foodies and collectors alike. This cozy shop specializes in Japanese ceramics, showcasing beautifully crafted bowls, plates, and tea sets that reflect centuries of artisanal expertise. The arrangement of goods feels organic yet practical, inviting visitors to explore the fine details of each item.
The shop's warm wooden interiors and soft lantern lighting create a welcoming atmosphere, blending traditional Japanese design with the unpolished charm of an active market. Bold Japanese calligraphy banners hang above the entrance, their black ink strokes exuding an authentic Edo-period aesthetic. The shelves are stacked high with neatly organized boxes, hinting at the vast inventory available. The vibrant green floor matting adds an unexpected splash of color, directing the eye and providing a clean, fresh contrast to the natural tones of the pottery.
Architecturally, this stall mirrors the tightly packed vibrancy of the Tsukiji outer market. Its compact yet efficient layout reflects the market’s historical roots as a bustling center of commerce. Many of these shops are family-run, some operating for generations, adding a layer of heritage to each purchase. Whether you're hunting for a perfect souvenir or simply admiring the artistry, this corner of Tsukiji feels alive with the pulse of Tokyo’s timeless charm.
It's very difficult to dress for this changeable weather in something that's not too warm, not too cold, looks OK if it gets wet etc. This morning, I was wearing a rain jacket with this top and skirt but swapped for a cardigan in the afternoon.
(Actually the skirt was not so practical - a cheap eBay purchase, the zip, which is at the back, came undone twice and I ended up going back home and changing rather than have it fall off in public. That's one reason why I like dresses, most styles will at least stay on you).
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
I absolutely love being up and in the field as early as practical. When I was a boy I could never sleep the night before my dad and I left for a trip into the wilderness to go fishing or hunting. That same excitement still lingers within me today and I hope it never fades. Long ago, I traded my gun for a camera which suits me just fine. Images have become much more rewarding than the thrill of the hunt and the meals provided by the game. Now a days the excitement of the pending shoot (no pun intended) often wakes me several hours before the alarm and I end up laying in bed visualizing my day ahead, walking through the environment, picking out details and framing up shot after shot until I am finally able to fall back to sleep.
For me, the first couple of hours of early morning light are both very relaxing and invigorating at the same time. It is like slowly unwrapping a present at Christmas. As the inky early morning light retreats, it is slowly replaced by the soft illumination of a new day which gradually reveals the details of the landscape inch by precious inch. The anticipation of the dawning of a new day is so intoxicating. What surprises await? What will I be given to work with today and how can I put it to use?
In this image, the serene early morning flow of the Merced River reflects the majestic Cathedral Rocks and the magical autumn landscape found in this area of Yosemite Valley. What a special way to start my day.
There are some great photos in these old Practical Motorist magazines, not just the usual road test type shots. The 120Y used here was a new one to me, although its registration fits in with a series of Datsun UK press cars. DVLA says it lasted until 1985, so the usual 10yrs average.
I wanted to do this in all trans-clear to be like a stained glass window, but I really only had the red and yellow trans slopes. :-( Everything yellow except the top and bottom rows are floating.
Practical Arts High School - Exterior View 2, Greenville St., Roxbury, Boston, MA. School building photographs circa 1920-1960 (Collection # 0403.002), City of Boston Archives
Early Friday morning before the 1970 Atlanta Pop Festival gates opened. A VW Bus was the most practical form of transportation for a bunch of hippies to travel back then.
[3Jul70_35sE05]
Practical Photography Camera School Course Module 1 Entry.
I only found out about this a few days ago and the weather has been awful. The deadline of the 14th was looming, so as soon as I saw some sun I raced out to Rouken Glen in Glasgow.
Landscape is not my thing at all, so this was a challenge. Don't know if I am super pleased with it.... but I tried.
Idea : Depict Movement
The Practical Encyclopedia of Good Decorating and Home Improvement, Greystone Press, 1970. I actually really like this idea, a lot.
"Paper lampshades come in a multitude of shapes and sizes - here we have a cylinder, an oblate spheroid, and globes in three sizes. This cheap but glamorous installation was made by sewing the shades together with wire wrapped around wood frames. Illumination is provided by a Christmas tree light string carrying small frosted bulbs of low wattage."
This was very cool at Variety Outlet. A fun retro assortment of gags you don't see too often anymore. 😊
A very interesting article to me, I'd become involed with the Datsun Owners Club by this time.
I have a copy of the Datsun 1200 photo sen to me by its owners (see below) and 180B was well-known to me as I regularly visited Will back then.
I also knew Bryan Wilson who owned the Celica, somewhere I have a photo of that car when we visited his workshop after a show - wonder if he ever finished it?
Practical information on Arraial d'Ajuda from my blog in English: Destination: Arraial d'Ajuda
Información práctica sobre Arraial d'Ajuda en mi blog en español: Destinos: Arraial d'Ajuda
*IMAGE AVAILABLE FOR SALE AT HIGH RESOLUTION*
Photos by Practical Hacks. Read the Practical Hacks review of the Synapse: www.practicalhacks.com/2011/03/29/review-tom-bihn-synapse...