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Taken at a gathering to celebrate the life of campaigner Guy Hughes, a friend and colleague who died in a mountaineering accident in 2006. See:
Just questioning as I believe to be Baird's Sandpiper,was in mudflat in farm field seen with Semipalmated Plovers,Pectoral Sandpipers,Golden Plovers,Killdeers.Noted 2 of above bird.
Looking for id please. Thank you,Regards, Jim
Cathrine Gyldensted
Jim MacMillan
Bruce Shapiro
Lori Shontz
Questo panel analizzerà l'engagement delle comunità a un livello base: esaminando e analizzando come i giornalisti intervistano le fonti e raccontano le notizie. Partendo dai risultati di una ricerca sulla copertura della notizia di un omicidio di massa a Roseburg, in Oregon, ci chiederemo se i giornalisti debbano rivedere i metodi base del proprio lavoro per coinvolgere il pubblico e guadagnarsi la fiducia. Gli psicologi dell'educazione sostengono che identificare e discutere ciò che diamo per scontato è un aspetto necessario, ma spesso trascurato, per creare e sostenere il cambiamento in qualsiasi settore. Questo panel utilizzerà informazioni sulla copertura di notizie e processi giornalistici raccolti non soltanto da giornalisti, ma anche da membri della comunità di Roseburg, in Oregon. Perché tra i membri della comunità sono cresciuti scontento e diffidenza nei confronti dei giornalisti? Che cosa non avrebbero voluto fare i giornalisti? Come può l'engagement ricostruire la fiducia e anche aiutare a costruire un giornalismo migliore? Organizzato in collaborazione con l'Agora Journalism Center - School of Journalism & Communication (Università dell'Oregon), iniziativa sostenuta dal finanziamento della John S. and James L. Knight Foundation.
This panel will explore community engagement at its most basic level: by examining and critiquing how journalists interview sources and report on the scene. By using insights from research into coverage of a mass shooting in Roseburg, Oregon, we will raise this question: To truly engage with and build trust with the public, do journalists need to re-examine the most fundamental processes of their jobs?
video: media.journalismfestival.com/programme/2017/questioning-o...
20121205 - "Curious Marcus"
“The important thing is not to stop questioning. Curiosity has its own reason for existing.” -Albert Einstein
-I wonder what Marcus is thinking?
I keep finding Freesias in random spots around the garden and questioning how they got their... and it's not close to each other. It's like at all corners of our garden. Every time I find one, would would take a photo and send it to my coworker who loves Freesias. #freesias #volunteer #flower #flowers #wheredidyoucomefrom #garden April 06, 2021 at 10:57PM
Cathrine Gyldensted
Jim MacMillan
Bruce Shapiro
Lori Shontz
Questo panel analizzerà l'engagement delle comunità a un livello base: esaminando e analizzando come i giornalisti intervistano le fonti e raccontano le notizie. Partendo dai risultati di una ricerca sulla copertura della notizia di un omicidio di massa a Roseburg, in Oregon, ci chiederemo se i giornalisti debbano rivedere i metodi base del proprio lavoro per coinvolgere il pubblico e guadagnarsi la fiducia. Gli psicologi dell'educazione sostengono che identificare e discutere ciò che diamo per scontato è un aspetto necessario, ma spesso trascurato, per creare e sostenere il cambiamento in qualsiasi settore. Questo panel utilizzerà informazioni sulla copertura di notizie e processi giornalistici raccolti non soltanto da giornalisti, ma anche da membri della comunità di Roseburg, in Oregon. Perché tra i membri della comunità sono cresciuti scontento e diffidenza nei confronti dei giornalisti? Che cosa non avrebbero voluto fare i giornalisti? Come può l'engagement ricostruire la fiducia e anche aiutare a costruire un giornalismo migliore? Organizzato in collaborazione con l'Agora Journalism Center - School of Journalism & Communication (Università dell'Oregon), iniziativa sostenuta dal finanziamento della John S. and James L. Knight Foundation.
This panel will explore community engagement at its most basic level: by examining and critiquing how journalists interview sources and report on the scene. By using insights from research into coverage of a mass shooting in Roseburg, Oregon, we will raise this question: To truly engage with and build trust with the public, do journalists need to re-examine the most fundamental processes of their jobs?
video: media.journalismfestival.com/programme/2017/questioning-o...
Laura Deitrick, Caster Family Center for Nonprofit Research; Nancy Jamison, San Diego Grantmakers; Pat Libby, USD's Institute for Nonprofit Education and Research
Questioning the human-kind has become a part of my everyday routine. The formation and structure of miniature cells are not only fascinating but also beautiful under a microscope in ink. Researching the different patterns of cells inspired me to develop my ideas into enlarged cell-like designs. The inks scientists use to observe the form of cells are vibrant colours to identify its pattern. This motivated me to work with mixed-media experimenting with a wide colour palette.
Questioning the implications of Artificial Intelligence
‘Do You Trust This Computer?’ is a documentary that explores the significance of A.I. for humanity. According to several leading scientists, artificial intelligence is probably the greatest threat to our existence. The documentary casts a grim look at the future with the message that if we do not intervene now, humanity will not survive.
The question is, how should we intervene? What are we still missing in the discussion about the future of artificial intelligence? Scare tactics often distort the debate and leave out many nuances in the discussion of artificial intelligence. MU rather shapes a more nuanced public discussion. After the screening, an expert panel will reflect on what they have seen and what their thoughts are.
This screening and panel discussion takes place in the context of the exhibitions by Zach Blas & Heather Dewey-Hagborg.
Moderator: Patricia de Vries
Panel: Joaquin Vanschoren, Merel Noorman, Rosa Wevers.
Photos: Hanneke Wetzer
First Day Challenge in Int/Adv Sculpture. Materials, Yarn, Scissors, Space, and instigated, loosely organized play. University of Idaho Challenge in Int/Adv Sculpture. Materials, Yarn, Scissors, Space, and instigated, unplanned play. University of Idaho
Starting this Facebook thing has brought up a personality point that I was kinda vaguely aware of. I don't know how to handle general open ended questions. I've always been very direct with my questions, for the most part. Sure, I can handle subtlety, but I'm better with in your face directness. I know it's true in my relationship. I don't take hints very well. I've said time and time again, that I need to be smacked upside the head with a plain as day hint.
My problem with open ended questions is two fold. I will either over think it and have a fit of emotional vomiting where I say everything that comes to mind. Or I won't say much at all. "I'm fine. You?"
I've been called aloof. It's really more a feeling of determining where a good conversational boundary is so I don't stick my foot in my mouth. Read the room first.
I guess I say this as a caveat to anyone who is trying to figure me out. You've be warned.
Cathrine Gyldensted
Jim MacMillan
Bruce Shapiro
Lori Shontz
Questo panel analizzerà l'engagement delle comunità a un livello base: esaminando e analizzando come i giornalisti intervistano le fonti e raccontano le notizie. Partendo dai risultati di una ricerca sulla copertura della notizia di un omicidio di massa a Roseburg, in Oregon, ci chiederemo se i giornalisti debbano rivedere i metodi base del proprio lavoro per coinvolgere il pubblico e guadagnarsi la fiducia. Gli psicologi dell'educazione sostengono che identificare e discutere ciò che diamo per scontato è un aspetto necessario, ma spesso trascurato, per creare e sostenere il cambiamento in qualsiasi settore. Questo panel utilizzerà informazioni sulla copertura di notizie e processi giornalistici raccolti non soltanto da giornalisti, ma anche da membri della comunità di Roseburg, in Oregon. Perché tra i membri della comunità sono cresciuti scontento e diffidenza nei confronti dei giornalisti? Che cosa non avrebbero voluto fare i giornalisti? Come può l'engagement ricostruire la fiducia e anche aiutare a costruire un giornalismo migliore? Organizzato in collaborazione con l'Agora Journalism Center - School of Journalism & Communication (Università dell'Oregon), iniziativa sostenuta dal finanziamento della John S. and James L. Knight Foundation.
This panel will explore community engagement at its most basic level: by examining and critiquing how journalists interview sources and report on the scene. By using insights from research into coverage of a mass shooting in Roseburg, Oregon, we will raise this question: To truly engage with and build trust with the public, do journalists need to re-examine the most fundamental processes of their jobs?
video: media.journalismfestival.com/programme/2017/questioning-o...
"Questioning"
I haven't really done much for the past few days. A little bit of macro photog and a little bit of night shots here and there. But my feet is itching! I need to go somewhere I can explore, photograph small things that I haven't photograph before. Jump at places that I haven't jump before! And do long exposures that I haven't done long exposures before! I need to get out of Los Angeles! arrrrr!
"National Identity ?” responding to the Theme:
Think with the Senses – Feel with the Mind.
Art in the Present Tense
work by Biennalist (Art Format)http://www.emergencyrooms.org/formats.html
Around the national pavilions, the Biennalist measures the nationality of their participants the Biennalists approach several visitors asking them for the self-assessment of their national identity and for some of their hair. The hair samples and self-measurements are collected in small plastic bags and subsequently exhibited floating in the air across a Venetian street .
See film
youtu.be/hWDC9CK0WbY?si=_mK39xee6E2KikRF
52. Venice Biennial
10 June - 21 November 2007
Theme:
Think with the Senses – Feel with the Mind.
Art in the Present Tense
Director:
Robert Storr
From Plato onwards philosophers have divided and compartmentalized human consciousness more or less explicitly pitting one faculty against another; mind versus body, reason versus unreason, thought versus feeling, criticality versus intuition, the intellect versus the senses, the conceptual versus the perceptual. At best such dichotomies have served to sharpen our understanding of the different capac ities at our disposal for comprehending the world and making our place in it. At worst they have deprived us of some of those abilities by setting up false hierarchies that cause us to mistrust or disparage one for the sake of another, many for the sake a few.
Yet no matter how successfully philosophers and ideologues have persuaded people that such categories are not just analytically useful but inherently or historically true, the manifold challenges to understanding that reality poses and the actual f lux of existence exceed the power of systems, theories and definitions to contain them. The imagination is the catch basin into which this overflow spills and art cuts the channels that reconnect formerly isolated or segregated parts of consciousness to each other while flooding and replenishing the whole of it like a fertile river delta.
Think with the Senses - Feel with the Mind is predicated on the conviction that art is now, as it has always been, the means by which humans are made aware of the whole of their being. However, it does not assume that an enduring wholeness is the result, or that art is a magical solution for the conflicts in our nature or in and among differing cultures and societies . That is the domain of philosophy, the social sciences and politics. Nevertheless, to “make sense” of things in a given moment or circumstance is to grasp their full complexity intellectually, emotionally and perceptually. That effort does not promise that our grasp will hold for long, or even much more than the instant in which we awaken to the fact that such fleeting powers of concentration and transformation are ours. Incidentally, “making nonsense” of the world, as grotesque, Dada or absurdist art does, deploys those same powers through exaggerated disparity. By inverting order and logic the artifact created paradoxically holds fragmented consciousness in suspension so that its contradictions can be clearly apprehended.
Epiphanies happen but do not last. As James Joyce showed, one of the functions of art is to preserve the experience so that we may savor and study its many aspects. The history of art is a fabric of epiphanies woven by many hands at different speeds; the present tense of art is the outer edge of that work in progress. At any point the edge may be ragged and uneven and the pattern in formation disturbing or hard to discern, reflecting the difficulty of making art in troubled times. We are living in just such times. Rather that trim the edge or reweave the pattern to neaten it, this exhibition focuses on selected aspects of current production that hint at what the emerging patterns might be without presuming to map them entirely. No attempt has been made therefore to be programmatically “representative,” either in terms of styles, mediums, generations, nations or cultures. Instead certain qualities and concerns widely found in contemporary art have been used as magnetic poles for gathering work from all seven continents, in all media, in various styles and of all generations now active.
Between the poles to which some works have readily gravitated is a force field where many other works hover. The poles themselves have been used like tuning forks, such that the criterion for selection has been resonance or mood as much as subject matter or aesthetic methodology. Among these vibrating points of reference are the immediacy of sensation in relation to questioning the nature and meaning of that sensation, intimate affect in relation to engagement in public life, belonging and dislocation, th e fragility of society and culture in the face of conflict, the sustaining qualities of art in the face of death.
Since the early 20century the development of modern art has been world wide. However its general dissemination and reception have lagged f ar behind this far flung, simultaneous, and cross -pollinating growth. In recognition of that discrepancy this Biennale has, as in the past, counted to the national pavilions to close the gaps, but it has also incorporated one national pavilion, Turkey, plus a regional pavilion, Africa, within its core, pointing the way, it is hoped, to greater, more permanent inclusiveness in areas of the world and of art -making too long overlooked in the international exhibition circuit.
While this show looks forward it does not look back. No attempt is made to trace genealogies or construct a new canon - and none at all to compete with art fairs or handicap the market. With a handful of exceptions all the artists included are alive and active. Diverse in origin and in temporal vantage points, it is they who conjugate the present tense of art for each other – and for us. The only artists in the show who are not living, would be but for their premature or unexpected deaths; their work is included here because its abiding freshness and impact keeps them on the minds of their peers and the public.
2007 Awards:
Golden Lion to an artist exhibited at the international exhibition to León Ferrari
Golden Lion to a young artist (under 40) to Emily Jacir
Golden Lion for best national participation to Hungary represented by Andreas Fogarasi
Honourable Mention to an artist to Nedko Solakov
Honourable Mention to a pavilion to the Lithuanian Pavilion represented by Nomeda & Gediminas Urbonas
Golden Lion to a critic or an art historian for his contribution to contemporary art to Benjamin Buchloh
Golden Lion for Lifetime Achievement to Malick Sidibé
Artists:
Rafael Lozano-Hemmer
Ignasi Aballí
Adel Abdessemed
Adel Abidin
Marina Abramovic
Vito Acconci
Nasser Naassan Agha
Tora Aghabeyova
Vincenzo Agnetti
Faig Ahmed
Vyacheslav Akhunov
Mounira Al-Solh
Rashad Alakbarov
Nikos Alexiou
Luciano de Almeida
Hüseyin Alptekin
David Altmejd
Narda Alvarado
Francis Alÿs
Ghada Amer
El Anatsui
Giovanni Anselmo
Dario Arcidiacono
Tatiana Arzamasova
Orkhan Aslanov
Said / Abilsaid Atabekov
Chingiz Babayev
Mrdjan Bajic'
Sonia Balassanian
Rubén Ramos Balsa
Oladélé Bamgboyé
Miquel Barceló
Yto Barrada
Andrei Bartenev
Georg Baselitz
Gabriele Basilico
Jean Michel Basquiat
Mónica Bengoa
Mario Benjamin
Joseph Beuys
Bili Bidjocka
Manon de Boer
Stefano Bombardieri
Boris Mikhailov
Zoulikha Bouabdellah
Louise Bourgeois
Herbert Brandl
Sergei Bratkov
Jan Christiaan Braun
Antonio Briceño
Patricia Bueno
Daniel Buren
Luca Buvoli
Christoph Büchel
Gerard Byrne
Sophie Calle
Paolo Canevari
Christian Capurro
Pablo Cardoso
Giovanni Carmine
Maríadolores Castellanos
Samba Chéri
Loulou Cherinet
Ali Cherri
Eteri Chkadua
Amrit Chusuwan
Vladimir Cybil
Bassem Dahdouh
Jacob Dahlgren
José Damasceno
Sahar Dergham
Angela Detanico
Felipe de Souza Dias
Paulo Vitor da Silva Dias
Ranieri Dias
Renato Figueiredo Dias
Gino De Dominicis
James Drake
Marlene Dumas
Eric Duyckaerts
Nataliya Dyu
Dzine
Rena Effendi
Jorge Eielson
Haiam Abd El-Baky
Tarek El-Komy
Aiman El-Semary
Fouad Elkoury
Tracey Emin
Haris Epaminonda
Lev Evzovich
Valie EXPORT
Steingrimur Eyfjörd
Nganguè Eyoum
Mounir Fatmi
Cao Fei
Eloy Feria
León Ferrari
ngela Ferreira
Marcus Viniciu Clemente Ferriera
George Fikry
Angelo Filomeno
Urs Fischer
Andreas Fogarasi
Francisco Bernd da Franca
Rene Francisco
Georgy Frangulyan
Ivana Franke
Vladimir Fridkes
Yukio Fujimoto
Gints Gabra-ns
Charles Gaines
Rainer Ganahl
Tomer Ganihar
Fabio Ferreira Gaviao
Isa Genzken
Alla Girik
Helidon Gjergji
Gent Gjokola
Shaun Gladwell
Felix Gmelin
Toril Goksøyr
José Luis Guerín
Dmitry Gutov
Alban Hajdinaj
Neil Hamon
Jonathan Harker
Lyle Ashton Harris
Ali Hasanov
Kiluanji Kia Henda
Christine Hill
Alexandre Hnilitsky
Jenny Holzer
Rebecca Horn
Marine Hugonnier
Mustafa Hulusi
Orkhan Huseynov
Pierre Huyghe
Lee Hyungkoo
Elshan Ibrahimov
Tamilla Ibrahimova
Ihosvanny
Pravdoliub Ivanov
Alfredo Jaar
Emily Jacir
Kim Jones
Lamia Joreige
Irena Ju*zová
Waltercio Caldas Junior
Andre Juste
Emilia Kabakov
Ilya Kabakov
Y.Z. Kami
Paulo Kapela
Izumi Kato
Ellsworth Kelly
Amal Kenawy
Kendell Geers
Raoul de Keyser
Rauf Khalilov
Jamshed Kholikov
Martin Kippenberger
Gaukhar Kiyekbayeva
Riyas Komu
Guillermo Kuitca
Tamara Kvesitadze
Rafael Lain
Rosemary Laing
Rafael Lamata
Maria Verónica León
Leonilson
Vincent Leow
Sol LeWitt
Jason Lim
Rosario López
Rafael Lozano-Hemmer
Armando Lulaj
Zulkifle Mahmod
Nalini Malani
Renato Mambor
Victor Man
Blagoja Manevski
Camilla Martens
Roman Maskalev
Steve McQueen
Xenía Mejia
Jill Mercedes
Arseny Mescheryakov
Aernout Mik
Paul D. Miller
Julia Milner
Santu Mofokeng
Andrei Monastyrski
Ronald Morán
Hiroharu Mori
Callum Morton
Joshua Mosley
Nástio Mosquito
Ivan Moudov
Rabih Mroué
Gulner Mukazhanova
Oscar Muñoz
Elizabeth Murray
Ndilo Mutima
Ingrid Mwangi
Marko Mäetamm
Sirous Namazi
Zoran Naskovski
Bruce Nauman
Hadil Nazmy
Yves Netzhammer
Alexander Nikolaev
Stefan Nikolaev
Susan Norrie
Thomas Nozkowski
Odili Donald Odita
Chris Ofili
Olu Oguibe
Melik Ohanian
Masao Okabe
Marco Antonio Oliveira
Maycon Souza de Oliveira
Nelcirlan Souza de Oliveira
Mario Opazo
Nipan Oranniwesna
Svetlana Ostapovici
William Paats
Paola Parcerisa
Philippe Parreno
Philippe Pastor
Heldi Pema
Giuseppe Penone
Jose Carlos da Silva Pereira
Dan Perjovschi
Rodrigo de Maceda Perpetuo
Raymond Pettibon
Donato Piccolo
Jorge Pineda
Cristi Pogacean
Sigmar Polke
Alexander Ponomarev
Concetto Pozzati
Wilfredo Prieto
Emily Prince
Morrinho Project
Tobias Putrih
Arnulf Rainer
Lars Ramberg
Alfredo Rapetti
José Alejandro Restrepo
Jason Rhoades
Manuela Ribadeneira
Gerhard Richter
David Riff
Ketty La Rocca
Ugo Rondinone
Tracey Rose
Susan Rothenberg
Aleksei Rumyantsev
Robert Ryman
Ruth Sacks
Walid Sadek
Ghassan Salhab
Ernesto Salmerón
Margaret Salmon
Fred Sandback
Iran do Espirito Santo
Yehudit Sasportas
Oksana Shatalova
Yinka Shonibare MBE
Malick Sidibe
Nedko Solakov
Monika Sosnowska
Cinthya Soto
Nancy Spero
Rania Stephan
Christine Streuli
Daniel von Sturmer
Evgeny Svyatsky
Tabaimo
Sophia Tabatadze
Da Wu Tang
Sam Taylor-Wood
Elaine Tedesco
Philippe Thomas
Mark Titchner
Faustin Titi
Felix Gonzalez Torres
Mario Garcia Torres
Jalal Toufic
Paula Trope
Tatiana Trouvé
Florin Tudor
Alexander Ugay
Gediminas Urbonas
Nomeda Urboniene
Vyacheslav (Yura) Useinov
Jamshed Usmanov
Aitegin Muratbek uulu
Jaime Vallare
Minnette Vàri
Mona Vatamanu
Emilio Vedova
Francesco Vezzoli
Alterazioni Video
Ernesto Vila
Manuel Vilariño
Françoise Vincent
Viteix
Kara Walker
Andy Warhol
Lawrence Weiner
Franz West
Sophie Whettnall
Maaria Wirkkala
Pavel Wolberg
Troels Wörsel
Yin Xiuzhen
Kan Xuan
Moico Yaker
Fudong Yang
Zhenzhong Yang
Yonamine
Tomoko Yoneda
Shen Yuan
Akram Zaatari
Maksim Zadarnovsky
Valeriy Zadarnovsky
Lesia Zaiats
Chen Zhen
Tags: Ignasi Aballí, Adel Abdessemed, Adel Abidin, Marina Abramović, Vito Acconci, Vincenzo Agnetti, Vyacheslav Akhunov, Rashad Alakbarov, Hüseyin Alptekin, David Altmejd, Francis Alÿs, Ghada Amer, El Anatsui, Giovanni Anselmo, Armando, Rubén Ramos Balsa, Miquel Barceló, Yto Barrada, Georg Baselitz, Gabriele Basilico, Jean-Michel Basquiat, Joseph Beuys, Bili Bidjocka, Manon de Boer, Zoulikha Bouabdellah, Louise Bourgeois, Herbert Brandl, Christoph Büchel, Daniel Buren, Gerard Byrne, Waltercio Caldas, Sophie Calle, Paolo Canevari, Po-i Chen, Ali Cherri, Jacob Dahlgren, José Damasceno, Gino de Dominicis, Marlene Dumas, Eric Duyckaerts, Dzine, Rena Effendi, Fouad Elkoury, Tracey Emin, Haris Epaminonda, Valie Export, Mounir Fatmi, Cao Fei, León Ferrari, ngela Ferreira, Angelo Filomeno, Urs Fischer, Andreas Fogarasi, René Francisco, Ivana Franke, Yukio Fujimoto, Charles Gaines, Rainer Ganahl, Kendell Geers, Isa Genzken, Shaun Gladwell, Felix Gmelin, Felix Gonzalez-Torres, Dmitry Gutov, Neil Hamon, Jonathan Harker, Lyle Ashton Harris, Kiluanji Kia Henda, Christine Hill, Jenny Holzer, Rebecca Horn, Marine Hugonnier, Mustafa Hulusi, Pierre Huyghe, Pravdoliub Ivanov, Alfredo Jaar, Emily Jacir, Kim Jones, Lamia Joreige, Ilya & Emilia Kabakov, Y.z. Kami, Ellsworth Kelly, Amal Kenawy, Raoul De Keyser, Martin Kippenberger, Guillermo Kuitca, Rosemary Laing, Leonilson, Sol LeWitt, H.H. Lim, Rosario López, Rafael Lozano-Hemmer, Armando Lulaj, Marko Mäetamm, Nalini Malani, Victor Man, Steve McQueen, Aernout Mik, Boris Mikhailov, Santu Mofokeng, Andrei Monastyrski, Callum Morton, Joshua Mosley, Nástio Mosquito, Ivan Moudov, Rabih Mrouè, Oscar Muñoz, Elizabeth Murray, Sirous Namazi, Bruce Nauman, Yves Netzhammer, Stefan Nikolaev, Susan Norrie, Thomas Nozkowski, Odili Donald Odita, Chris Ofili, Olu Oguibe, Melik Ohanian, Nipan Oranniwesna, Philippe Parreno, Giuseppe Penone, Dan Perjovschi, Raymond Pettibon, Cristi Pogacean, Sigmar Polke, Alexander Ponomarev, Concetto Pozzati, Wilfredo Prieto, Emily Prince, Tobias Putrih, Rainer Fetting, Arnulf Rainer, José Alejandro Restrepo, Jason Rhoades, Manuela Ribadeneira, Gerhard Richter, Ketty La Rocca, Ugo Rondinone, Tracey Rose, Susan Rothenberg, Robert Ryman, Margaret Salmon, Fred Sandback, Iran do Espírito Santo, Yehudit Sasportas, Yinka Shonibare, Malick Sidibé, Nedko Solakov, Mounira Al Solh, Monika Sosnowska, Nancy Spero, Christine Streuli, Daniel von Sturmer, Tabaimo, Al Taylor, Sam Taylor-Wood, Mark Titchner, Mario Garcia Torres, Tatiana Trouvé, Minnette Vari, Emilio Vedova, Francesco Vezzoli, Alterazioni Video, Kara Walker, Andy Warhol, Lawrence Weiner, Franz West, Sophie Whettnall, Pavel Wolberg, Troels Wörsel, Yin Xiuzhen, Kan Xuan, Yonamine, Tomoko Yoneda, Shen Yuan, Akram Zaatari, Chen Zhen, Yang Zhenzhong
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
—-------------
#art #artist #artistic #artists #arte #artwork
#artcontemporain contemporary art Giardini Arsenal
venice Veneziako Venecija Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía HungarianVelence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHEN ,Dakar; Biennalist
kritik[edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Veneziako Venecija Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
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Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text,Photographic Source ultracontemporary
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
en.wikipedia.org/wiki/Thierry_Geoffroy
Napoli, 18 Dicembre 2021. Gran Galà Omovies, festival di cinema a tematica Gay, Lesbica, Transgender e Questioning della città di NAPOLI giunto alla sua 14a edizione consecutiva, presso la Fondazione FoQus, quartieri spagnoli- Ph. roberta basile kontrolab per IKen
Questioning old and new waste in Thames. 21st Century waste of plastic food packaging destroying habitats. 18th Century ceramic waste still on foreshore. Made from recycled milk bottles and old ceramics foraged from Thames foreshore.
(2014)
Could not put this book down... Bellevue Square (one of the five books on the shortlist for the Scotiabank Giller Prize) has taken me on a wild ride with the main character Jean, who discovers through a series of people she has a doppelgänger in her neighborhood in Toronto. But as she spends time investigating the woman who resembles her likeness, she starts discovering deeper issues with herself. Like the film the Matrix, this book has me questioning my own perception of reality 😄 I am really looking forward to the Between the Pages event tomorrow to hear the author of Bellevue Square, Michael Redhill and the other 4 talented authors on the 2017 shortlist at the @nmc_canada from 6-7:30pm 👉 For venue and ticket information, please click the link🔗 in bio ☝ #GillerPrize, @scotiabank @wordfest #Sponsored
Cathrine Gyldensted
Jim MacMillan
Bruce Shapiro
Lori Shontz
Questo panel analizzerà l'engagement delle comunità a un livello base: esaminando e analizzando come i giornalisti intervistano le fonti e raccontano le notizie. Partendo dai risultati di una ricerca sulla copertura della notizia di un omicidio di massa a Roseburg, in Oregon, ci chiederemo se i giornalisti debbano rivedere i metodi base del proprio lavoro per coinvolgere il pubblico e guadagnarsi la fiducia. Gli psicologi dell'educazione sostengono che identificare e discutere ciò che diamo per scontato è un aspetto necessario, ma spesso trascurato, per creare e sostenere il cambiamento in qualsiasi settore. Questo panel utilizzerà informazioni sulla copertura di notizie e processi giornalistici raccolti non soltanto da giornalisti, ma anche da membri della comunità di Roseburg, in Oregon. Perché tra i membri della comunità sono cresciuti scontento e diffidenza nei confronti dei giornalisti? Che cosa non avrebbero voluto fare i giornalisti? Come può l'engagement ricostruire la fiducia e anche aiutare a costruire un giornalismo migliore? Organizzato in collaborazione con l'Agora Journalism Center - School of Journalism & Communication (Università dell'Oregon), iniziativa sostenuta dal finanziamento della John S. and James L. Knight Foundation.
This panel will explore community engagement at its most basic level: by examining and critiquing how journalists interview sources and report on the scene. By using insights from research into coverage of a mass shooting in Roseburg, Oregon, we will raise this question: To truly engage with and build trust with the public, do journalists need to re-examine the most fundamental processes of their jobs?
video: media.journalismfestival.com/programme/2017/questioning-o...