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ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------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]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence 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 taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie 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 ATHENS
* Dakar
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
Basque Veneziako Venecija [edit] Catalan 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
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
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
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 artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
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41157-2 sz. Genk - Curtici konténervonat
Containerzug Nr. 41157-2 im Relation Genk - Curtici
The plan was relatively simple. My dad and I would travel south of Norwegian Memorial to Starbuck Mine with a goal of locating a shortcut route directly into Starbuck Mine along Washington's rugged northern coast. Prior we had explored a short distance into the forest near the mine location and felt confident we could pick up the path if it existed.
We would access Norwegian Memorial via a different, well-established shortcut route that we've traveled numerous times in past years. Upon arrival to the trailhead of the shortcut route we discovered over a dozen vehicles. Norwegian Memorial proper was sure to be packed – all the more reason to travel further south to quieter camping possibilities.
The hike out to Norwegian was without event, minus meeting with about half a dozen men from one of the big groups. They were headed out for a resupply. We asked if they were “the pirates” – a group that frequents this section of coast - and although they surely were, they seemed a little reluctant to identify themselves as such.
Once at the beach, we assessed the tide in relation to the first headland south of Norwegian Memorial. Not as formidable as others headlands in the area, it still required a tide of 5.5 or lower to safely pass. With waves already crashing on the headland rocks we knew we would have to travel the overland trail to hike further south.
We had traveled this particular overland trail once prior. Not out of necessity, rather just to explore the route. Similar to other coastal overland trails, it is steep, muddy and requires use of ropes and ladders. With a full backpack, these overland routes can be a bit of a challenge. Prior to the start of the overland trail we met with two men who were departing from Cedar Creek. They relayed there was no one else in the area. It appeared we would have several miles of coast all to ourselves.
The overland route begins with a steep climb. Shortly beyond I discovered a fallen tree on the trail. The tree was located at a somewhat precipitous location. On one side a steep embankment on the other a drop off to the beach far below. With no way to squeeze underneath the tree we had to go over. We ended up taking off our backpacks and one-by-one shuttling ourselves and packs across. I wondered how in the world I would tackle that obstacle had I of been by myself.
Beyond the crest of the overland trail, the trail drops – quite steeply in places. The steep incline and attempt to not slip quickly fatigued my legs. By the time I reached the ropes and ladder my thighs already felt shaky. I got a slow start. Clinging to the rope I wasn't sure how to begin. Facing out to the sea, I felt certain I was going to slip on the unstable earth. Ultimately, I turned around and faced the hillside to inch my way down to the rope towards the ladder.
The ladder gave challenge. But step by step I made the descent towards the sand below. The final step was broken, making for an awkward and large drop into the sand.
Cedar Creek proved little obstacle to cross. The sandy beach near Cedar Creek gives way to steep, rocky banks on the approach to Starbuck Mine, about a quarter mile south. With the tide on its way in, we wasted little time and proceeded south. We located the site of the old Ranger Station platform south of Cedar and considered camping there as the tide was already pushing us into the driftwood. But Starbuck was only a short distance further so we continued on.
Arriving at Starbuck my initial concern was water. The nearby creek did not appear to be flowing very well, but a bit of bushwhacking to creek’s edge further inland gave access to swift flowing, nearly clear water. We decided to set up camp at Starbuck Mine, hoping such would allow us more time to locate and travel the possible shortcut trail into camp.
After camp was setup we took to the beach. With the tide high and headlands on either side of us our ability to wander was limited. Nevertheless, we traveled south beachcombing amid the driftwood piles that abutted the steep banks overhead.
Returning to camp we snacked on food and rested. I wandered up into the woods and fairly easily picked out a ribbon-marked route heading inland. An hour or two later we decided to follow the path. Per maps, we believed the route would be about a mile long. We knew the general direction we needed to travel if we were to meet up with the desired old logging road(s). Though I would not call the path a “trail” it was obvious that someone had spent time marking and maintaining the route.
Travel wasn't difficult but route finding slowed our pace. With our eye on the clock, we set a 4PM turnaround time. About 400 feet from the end of the road, 4PM was approaching fast. So close, but converging pathways led us astray and it took us a few passes to find the correct route. Once the road was found, we way-pointed on our GPS and began the walk back. In the dense coastal forest, it became somewhat of a race against the sunset. We should have come better prepared. I had toilet paper, but faced with “only a one mile walk” we had neglected to bring water or headlamps.
Fortunately, we made it back to camp without event. The early evening was spent making dinner, purifying water and hanging out in camp. Around 6:30 or 7PM we heard loud explosions to the north. We figured it was the pirates. The camp at Starbuck Mine lies a distance into the forest. We innocently decided to head out closer to the beach.
A short distance from camp, the path in the woods descends a series of steep stairs. I navigated these without issue, and then, to my horror, turned to see my dad slip and fall down the same set of stairs. His first words came fast and calm, “I just broke my leg.”
I helped him to an upright position, checked his leg for obvious signs of break. I asked him if he was able to move his leg and foot. He was. Was his ankle just sprained? I tried to help him stand, but it became clear, very quickly, he could not put any weight on his right foot.
The situation felt dire and as that began to set in, I helped him crawl back to his tent. Crawling with him, I tried to stay positive. Very positive. Everything will be okay. We’ll get you warm. We’ll assess the situation. I’ll go get help. Everything will be okay.
Back in his tent, he said he was okay. My mind was running, full of the various scenarios that might present themselves.
I knew that there was no one in direct proximity to lend assistance. I knew that I alone would have to figure this out. I would not be able to carry my dad out. The tide was currently low. Low enough I could travel, in the dark, around the headland. To the pirates. Would the pirates lend assistance? Would they be sober or coherent enough to do so? What about my dad’s current situation? He was in pain. But it did not appear overwhelmingly so. Nor did he appear to be in shock. He was slightly cold, but getting warmer. Would it be okay to wait until daybreak to proceed?
I asked him to be honest with me. Did I need to go get help now? The window was narrow, but now would be the time. High tides would dictate otherwise come morning. He said he would be okay. That I should get some sleep.
I went about picking up camp, my mind still aflutter. I retired to my tent. I journaled for a little while, trying to make sense of the situation. Disbelief flooded through me. I couldn't believe this was really happening. Instead of getting upset I attempted to keep a level-head. I studied tide charts in relation to the headland just north. I noted our location coordinates. I again went over all the different scenarios trying to better prepare myself for the choices I would be making in the coming hours and day.
About an hour later I went to check on my dad. He was still awake and told me he was cold. I filled a Nalgene bottle with boiling water and gave to him in hopes of warding off the chills. I again asked him if I should go get help. He again said no and encouraged me to get some sleep.
I managed to sleep but awoke at 2:30AM. I exited my tent and wandered over to my dad’s tent. I discovered he was still awake. He told me he had not slept and his ankle still hurt. I told him I would leave early morning to go for help. I would set my alarm. I would set it early to allow enough time for us both to break camp. I would help him pack up his gear. Then, closer to low tide I would help him out towards the beach after which I would leave to get help.
Sunrise was at 8AM. Lot tide was about 15 minutes later. It would be a 2.9 foot tide. A 5.5 foot was recommended to round the headland. This did not give me much comfort. The window felt very narrow.
I set my alarm for 5AM. Then 4:30AM. But as I lay awake in my tent, I again reset to 4AM worrying we may need more time to prepare than I had originally thought. Ultimately, unable to sleep I got up well before 4AM. My dad had started packing up items within his tent. I brought him his backpack to better assist and went about packing up my own gear.
Gear packed. Time to reassess situation. I tried to see if I could help my dad walk. No. He couldn't put any weight on his foot. What if he had crutches? In the dark of predawn, I climbed up the hillside into the forest searching for branches that could fashion as possible crutches. I found two candidates and returned to my dad. The verdict? No. He wouldn't be able to walk in any way.
Confirmation of this knocked out a few of the scenarios I had considered. If he had been able to walk, we could have attempted exit via the Norwegian shortcut or the newly found Starbuck Mine route. Either way I would need to shuttle backpacks. Either way would prove long and tiresome. But it would have been doable.
Now, other scenarios floated to the surface. The type of scenarios I've read other hikers facing. The type of scenarios that I, a hiker, have naturally thought about from time to time, but have never had reason to plan out or truly prepare for. I didn't really know the proper way to get emergency help while in the wilderness. Had a ranger been nearby, I would have traveled to their location. Had a group of fellow and able hikers been nearby I would have traveled to them to ask for assistance – or simply advice. A little bit of advice would have given great encouragement.
Instead, it was just my dad and I. I was thankful he was in good spirits, coherent, and able to discuss the situation with me.
I had thought that cell phones were able to make emergency calls anywhere. I quickly discovered that is not the case. Neither my dad’s (Verizon) or my cell phone (AT&T) was able to place an emergency call from Starbuck Mine.
We did know that my dad’s cell phone had reception at the trailhead. The trailhead would be my goal, unless service was acquired sooner. Regardless of where service was acquired I would need to leave to call for emergency help.
In the dark, my dad crawled out to a high perch above the beach. I brought him his gear. I brought my own gear out. I sat down. We waited. The hour approached 6AM. It would not take me long to reach the headland. Maybe twenty or thirty minutes. I didn't need to leave until 7:30AM, but with my own anxiety building I ended up departing around 6:45AM.
With my full pack on, my feet sank into the steep, rocky banks of the shore. To my left waves crashed. In the dark my headlight shone light on what appeared to be an all-too-close wall of white waves incoming. I felt unsettled. I felt scared. Many questions ran though my head.
Would I be able to get around the headland, or would the tide be too high? If I had to go over the overland, would my still-fatigued thighs give out on the rope ladder? How in the world was I going to get myself – and backpack – over that damned downed tree? Once I was near Norwegian, would I get cell phone reception? Or would I have to travel all the way back to the truck? Would the pirates be up? Would they be able to help?
The crossing of Cedar Creek did not prove an issue, and was certainly the least of my concerns. As suspected, I reached the headland in about twenty minutes. The moonlight aided my headlamp, but it wasn't enough for me to make a decision as to whether I could get around the headland. I would need to wait for daybreak around 8AM. I knew this was the best decision. Even if I could not make it around the headland, daylight would be beneficial on the overland trail. I backtracked to a pile of driftwood and sat down. I grew cold and began pacing. Back and forth, back and forth. Waiting for daylight, I created a series of mini-goals in the hopes that reaching them would keep me calm and level-headed.
I also spent a great deal of time saying, out loud, “You’ll figure it out. Everything will be okay.”
My self-pep talks continued as dawn approached. I stood near the rocky headland and reasoned that it certainly looked doable. I watched a series of waves. I inspected how high they were getting. I countered my fears of waves washing me out to sea with knowledge that the tide was, in-fact, still technically going out. I set out on the rocks. My self-pep talks grew louder and more confident. There was no room for fear. I needed to stay safe and get by this headland.
And, I did. Once on the sandy shores, adrenaline rushing through me, I retrieved my dad’s cell phone and attempted to place an emergency call to 911. The call appeared to be going through, but then dropped. I moved around on the beach and tried again. Success. The operator answered and inquired the location of my emergency.
I answered on the Washington Coast. But this was not enough detail and I knew if I named "Norwegian Memorial" or "Starbuck Mine" this would only further confuse the situation. Instead, I simply said, “Olympic National Park” which resulted in being transferred to ONP’s emergency dispatch. A gentleman answered and inquired about my emergency. I remained calm and relayed basic information before giving specifics such as the coordinates where my dad was located, his age and what gear he had with him. He asked me to stay on the line as he contacted an ONP ranger. I waited for a few minutes and then realized my call had, once again, dropped.
I called back. Was transferred back to ONP emergency dispatch and subsequently cut off. I called back again. The 911 dispatcher apologized and connected me to ONP dispatch. The dispatcher asked if I received message from the ranger. No, I had not. He relayed that procedure dictated that a ranger travel to the site to assess the patient. The ranger would be on-site in two hours. I asked if I should return to my dad and wait, expressing need for quick decision with the now incoming tide. The dispatcher encouraged me to return and keep my dad warm until the ranger arrived. I thanked him and wasted no time getting back around the headland.
Breathless, I arrived back to my dad and relayed the news. A ranger should be on site around 10AM. 10AM came and went. The fog grew thicker and the tide rose higher. I made my way back and forth to the beach, keeping an eye out for the ranger. Around 10:30AM I spotted a figure emerging from the fog. Once closer, I approached. It was the ranger, Tim Saskowsky. Stationed at Mora, I realized a short time later that I had been in touch with him prior regarding a pesticides canister found near Cedar Creek.
Tim was very kind and immediately I felt better knowing I was no longer in the situation alone. Nevertheless, he made it clear from the beginning this would not be a quick process. Apparently emergency rescues are rarely fast. In fact, it could take days before my dad was rescued.
He made the initial assessment of my dad, noting swelling of the ankle and possible presence of mild shock. He suggested that we move my dad back into the trees and get him into his sleeping bag to keep him warm. He also suggested we sent up his tent. My dad was initially reluctant about this idea – likely because it foretold that rescue would not be immediate. Ultimately we did set up his tent. Once in there and on his sleeping pad he quickly fell asleep, which was likely best. Much patience and waiting would be required for the next several hours.
Due to location, a carry out rescue was not the best – or perhaps even a possible – option. Instead, Tim requested helicopter evacuation via the United States Coast Guard. The Coast Guard may, or may not, choose to take the mission. They use these rescue missions as training. Conditions were somewhat poor at the time the call went in. Low visibility due to increasing fog and the incoming tide was fast decreasing the amount of space available for a rescue swimmer to safely touchdown.
The initial request was denied. A second briefing would be held two hours later at 3PM. If conditions improved, it was possible they would perform evacuation that day. If not, it was likely we would be spending another night at the coast. Tim was not prepared to stay the night, so he would need to leave.
We spent time collecting fire wood with the mindset: better to have it and not need it than need it and not have it. Throughout I tried to keep a level head by asking questions an observing Tim’s communications with dispatch and the Coast Guard. When the Coast Guard asked for my dad’s full name, it was taken as a good sign. At least they were considering the mission.
We were thankful to see conditions improving by the time 3PM rolled around. But without confirmation from the Coast Guard, Tim cautioned we should not jump the gun or prepare for evacuation just yet.
With additional communications, Tim felt encouraged rescue would take place. I woke my dad and we helped him get back out to the bluff above the beach. I quickly broke down his tent and repacked his backpack. There was good chance the Coast Guard would be able to transport his gear with him – which would be of great help as I could not hike out with two backpacks once my dad was rescued (the Coast Guard only transports injured persons, hence Tim and I having to hike back out on our own).
Tim received confirmation that the Coast Guard was en-route. This was really going to happen. We helped my dad scoot further down on the beach. We stood waiting, eyes peeled on the headland.
And then, all of a sudden, above the headland to the north a helicopter appeared.
In that moment everything became very real for me. I think up until this point I had been operating on emergency instinct. Instinct devoid of much personal emotion as I knew getting upset or giving in to fear was going to do little to help the situation. I very much felt a sense of needing to "show up" and "be present."
Seeing the helicopter however, choked me up. It felt surreal – as though I was witnessing a scene from a movie playing out in my real life. The helicopter circled wide a couple of times. Tim said it is easier for the pilot to circle, rather than keep the helicopter stationary, as the rescue swimmer prepares.
The helicopter approached. The prop wash was strong. The noise was engulfing. I decided, in further effort to remain calm, I’d document the rescue with photos and videos. The salt spray was of concern for my camera but I figured, if need be, I’d buy a new camera.
Once the rescue swimmer was ready, the helicopter got into position. The prop wash grew fiercer and Tim motioned me back up to the bluff. I obliged, saying goodbye to my dad along the way.
Atop the bluff I watched the scene unfold. The rescue swimmer was lowered onto the beach. He unhooked himself and made his way over to Tim, and then to my dad. They helped him down onto the beach, into position for rescue. The ranger retrieved my dad's backpack. The basket was lowered. They helped my dad into the basket. The rescue swimmer gave command to lift. Up went my dad to the outside of the helicopter and then inside. Once in, a line was lowered. The rescue swimmer strapped on my dad’s backpack, hooked up his harness and away he and the helicopter went. Soon the tremendous noise of the helicopter was gone. All that was left was the sound of the sea.
Tim returned, pumped up with adrenaline. It was his first time placing anyone in a Coast Guard basket. I thanked him profusely for all of his assistance. There was little time waste. With darkness fast approaching, if he and I were to hike out that day we needed to get going. I asked him what route he wished to take. His answer was, "The quickest one." While my fears and gut wished for me to take the lesser-traveled, though perhaps safer, Starbuck Mine shortcut I knew that the quickest route would be back via the Norwegian shortcut. This would entail skirting by the headland and tide for the third time that day - or navigating the overland trail route.
We hiked fast. Approaching the headland I noted the tide was certainly higher than when I had passed by in the morning. But the rocks were exposed. Neither of us really wanted to use the overland. I pushed my fears aside and we headed for the headland.
Atop a rock, a wave approached fast. I quickly had soaking wet feet and an even faster racing heart. I apologized to Tim admitting this was, “a little out of my comfort zone.” Now with water in my boots, I no longer worried about getting wet and made slightly faster progress – my main focus on ensuring safe footing.
Finally, reaching the sand, I breathed a sigh of relief knowing I had hiked the Norwegian shortcut in the dark before and felt comfortable with the remaining route to the trailhead. Tim radioed to ONP dispatch and received word that my dad was not being taken to Neah Bay as originally planned, rather the Coast Guard was transporting him back to Port Angeles. I would be able to pick him up at the hospital in Port Angeles.
Once at Norwegian, Tim made a quick stop to talk with the pirates who were quite the lively bunch gathered around a campfire listening to the Seattle Seahawks game on a radio. Tim admitted he didn't have time to really address the situation. There were obvious violations – such as improperly stored food and general lack of leave-no-trace practices in camp. He said he would return the following day.
I loaned Tim my dad’s headlamp and we began the one mile hike back out through the mud and muck. We made quick time and were back to the trailhead around 6:30PM. After some minor paperwork, we began driving – me to Port Angeles and Tim back to La Push.
I arrived at the hospital around 9PM. My dad was in good spirits, despite knowledge that his ankle was broken in three places. We made a quick stop at McDonalds to get some food. I realized I had hardly eaten all day – nor had my dad. The remainder of the ride home was without event, which was entirely welcome after all that had just transpired.
. . .
One year later. My dad's injury and subsequent recovery kept him from the trail for the majority of the year in 2014. For the first time ever I wasn't able to plan and share wilderness adventures with my my dad. The absence of my dad's company on the trail only further highlighted the fact that he is my primary hiking partner.
But, I couldn't not hike. Hiking is what I do. It is what makes me happy. So the year unfolded in different and new directions. I applied for a permit to the Enchantments and the Wonderland Trial. I was unsuccessful at obtaining either. Back to the drawing board. Dayhikes here and there. My first solo overnighter - to the ocean during a big storm. I enjoyed the company of friends and family on the trail (thank you all). I volunteered, a lot (Washington Trails Association work parties, Washington CoastSaver cleanups, Olympic National Park's Marmot Monitoring Program and Mount Rainier's MeadoWatch). Yet, no "big" trip presented itself on the horizon. At least not one of the hiking variety. Instead, an opportunity to visit the Island of Hawaii in late fall. It would require a substantial amount of vacation and likely would keep me from a longer, multi-day trip on the trail. Ultimately 17-days of sunshine was too good to pass up and I put my trip-planning energies into researching and getting to know the Big Island.
The Big Island was special. Large in size and vast in beauty, it was an ideal place to play "explorer" for an extended period of time and I felt very much "in my element" as I adventured about the island.
My deepest connections to the island came not when I was driving here or there to behold breathtaking vistas and visit magnificent beaches, but rather when I simply put my feet to the earth and started walking. I had the pleasure of making a few hikes while on the island.
Hiking out to Lake Waiau and summiting Mauna Kea was certainly a highlight of the trip for me. The challenge of hiking at such high elevations (just under 14,000-feet) was demanding and intense - but so very exhilarating. I felt a great sense of happiness being at Mauna Kea. A few days later I hiked the Kilauea Iki Trail in Hawaii Volcanoes National Park. I felt overjoyed hearing the sounds of my footsteps upon the new-to-me landscape. I breathed deeply and took in the sights, sounds and smells. Later in the trip, I made the short - but steep - descent to Kealakekua Bay and the Captain Cook Monument via a well-traveled footpath on lava rock. After several hours of snorkeling the hike back up the path during the heat of the day was a bit tedious. Despite sweat and lack of breath, all I could think was how wonderful it is to challenge our bodies - and in the process - have opportunity to make memories and connections with different places.
I hike because I am happy doing so. But, it's more than that. It is, perhaps, the best way I know how to care for myself. Each time I hike, each time I hear the song of my footsteps on the trail - I am, in essence, telling myself, "You are worth it." Worth what? Worth taking care of. Worth creating a practice that has proven, time and time again, to aid in betterment of my mind, body and spirit.
I certainly feel thankful to my dad for teaching and encouraging me to hike. The practice has led to life lessons, amazing adventures and discovery of self. This past weekend Lance and I had the pleasure of sharing 10 miles of trail with my dad. Though his recovery continues, I'm happy to have his company return and look forward to seeing where our footsteps take us this year.
When the year drew towards the end and closed with Christmas I started dating someone. We even lasted for the magical seven weeks. It ended this January. I made an island in Second Life with a grave on it. There our relation lies buried cried over by my blue stick man.
Perdu is French for hidden or lost. She lived in France.
Neutron stars, the ultra-dense cores left behind after massive stars collapse, contain the densest matter known in the Universe outside of a black hole. New results from Chandra and other X-ray telescopes have provided one of the most reliable determinations yet of the relation between the radius of a neutron star and its mass. These results constrain how nuclear matter – protons and neutrons, and their constituent quarks – interact under the extreme conditions found in neutron stars.
Three telescopes -- Chandra, ESA's XMM-Newton, and NASA's Rossi X-ray Timing Explorer (RXTE) -- were used to observe 8 different neutron stars, including one in 47 Tucanae, a globular cluster located about 15,000 light years away in the outskirts of the Milky Way. The image shown here was constructed from a long Chandra observation of 47 Tucanae. Lower-energy X-rays are red, X-rays with intermediate energies are green, and the highest-energy X-rays are shown in blue.
In the image, the double, or binary, star system labeled as X7 contains a neutron star slowly pulling gas away from a companion star with a mass much lower than the Sun. In 2006, researchers used observations of the amount of X-rays from X7 at different energies together with theoretical models to determine a relationship between the mass and the radius of the neutron star. A similar procedure was used for Chandra observations of a neutron star in another globular cluster, NGC 6397, and for two other neutron stars in clusters observed by ESA’s XMM-Newton.
Four other neutron stars were observed with RXTE to undergo bursts of X-rays that cause the atmosphere of the neutron star to expand. By following the cooling of the star, its surface area can be calculated. Then, by folding in independent estimates of the distance to the neutron star, scientists were able to gather more information on the relationships between the masses and radii of these neutron stars.
Because the mass and radius of a neutron star is directly related to interactions between the particles in the interior of the star, the latest results give scientists new information about the inner workings of neutron stars.
The researchers used a wide range of different models for the structure of these collapsed objects and determined that the radius of a neutron star with a mass that is 1.4 times the mass of the Sun is between 10.4 and 12.9 km (6.5 to 8.0 miles). They also estimated the density at the center of a neutron star was about 8 times that of nuclear matter found in Earth-like conditions. This translates into a pressure that is over ten trillion trillion times the pressure required for diamonds to form inside the Earth.
The results apply whether the entire set of bursting sources, or the most extreme of the other sources, are removed from the sample. Previous studies have used smaller samples of neutron stars or have not accounted for as many uncertainties in using the models.
The new values for the neutron star's structure should hold true even if matter composed of free quarks exists in the core of the star. Quarks are fundamental particles that combine to form protons and neutrons and are not usually found in isolation. It has been postulated that free quarks may exist inside the centers of neutron stars, but no firm evidence for this has ever been found.
The researchers also made an estimate of the distances between neutrons and protons in atomic nuclei here on earth. A larger neutron star radius naturally implies that, on average, neutrons and protons in a heavy nucleus are farther apart. Their estimate is being compared with values from terrestrial experiments.
The neutron star observations also provided new information about the so-called "symmetry energy" for nuclear matter, which is the energy cost required to create a system with a different number of protons than neutrons. The symmetry energy is important for neutron stars because they contain almost ten times as many neutrons as protons. It is also important for heavy atoms on Earth, like Uranium, because they often have more neutrons than protons. The results show that the symmetry energy does not change much with density.
These results will be published in a paper in the March 1st, 2013 issue of The Astrophysical Journal Letters. The authors are Andrew Steiner, from the Institute for Nuclear Theory at the University of Washington, James Lattimer from Stony Brook University in New York and Edward Brown from Michigan State University.
NASA's Marshall Space Flight Center in Huntsville, Ala., manages the Chandra program for NASA's Science Mission Directorate in Washington. The Smithsonian Astrophysical Observatory controls Chandra's science and flight operations from Cambridge, Mass.
Read entire caption/view more images: chandra.harvard.edu/photo/2013/47tuc/
Image credit: NASA/CXC/Michigan State/A.Steiner et al
Caption credit: Harvard-Smithsonian Center for Astrophysics
Read more about Chandra:
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
_____________________________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
No relation to silly movies. The last series was ice. Not long ago, the series was dark so lets jump back to black; I am fading to dark for this shot of the scene stepping back into the atmosphere, all the way through the greys. Including the foreground, I count seven steps to the sky. Holding those steps took some editing work while preserving some shadow detail. This was shot was balanced for the atmosphere in the distance. Well into spring, May was the season of green sprouting grasses and newly leaved trees but only added a kiss of detail late in the evening. What was a great day in May for snapping up the evening. Today, however,we finally got to March and we expect an early spring but then global warming is taking us way off the charts. Today, February hit more than 61 degrees. Thank you Koch brothers for your assistance in warming the globe. The Faux will scream foul but, in reality there were far more record highs than lows this winter here in Kochistan.
I was out shooting the images I could find. I made another loop of the path but the breeze was up a bit and was streaming the grasses to the east. I am out here at Golden Ponds, the Longmont, Boulder County greenbelt and rec area and fortunately, the turn off is only a half-dozen blocks down Hover Street. I wanted to look for possible locations even though the sky had been the pits lately. I wandered the green space and took any evening shots that were available, I shot a few more pictures.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
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------------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]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence 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 taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie 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 ATHENS
* Dakar
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
Basque Veneziako Venecija [edit] Catalan 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
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
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
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 artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
In relation to some things that happened roughly a month ago. I'm still adamant, I'm still angry, I still feel insulted but what is there that I can do about it? I am in an "Asian society" after all.
French postcard by Editions F. Nugeron, no. Star 96.
'The King of Pop' Michael Jackson (1958-2009) entertained audiences nearly his entire life. He started very young in the Jackson 5 and solo he recorded the biggest-selling album of all time, 'Thriller' (1982). He appeared in the film The Wiz (1978), but he was more successful with his elaborate music videos, directed by such famous filmmakers as John Landis, Martin Scorsese, and Francis Ford Coppola.
Michael Joseph Jackson was born in 1958 in Gary, Indiana, and entertained audiences nearly his entire life. His father, Joe Jackson (no relation to Joe Jackson, also a musician), had been a guitarist but was forced to give up his musical ambitions following his marriage to Michael's mother Katherine Jackson (née Katherine Esther Scruse). Together, they prodded their growing family's musical interests at home. Michael was the brother of Rebbie Jackson, Jackie Jackson, Tito Jackson, Jermaine Jackson, La Toya Jackson, Marlon Jackson, Randy Jackson, and Janet Jackson. By the early 1960s, Jackie, Tito, and Jermaine had begun performing around the city. By 1964, Michael and Marlon had joined in. A musical prodigy, Michael's singing, and dancing talents were amazingly mature, and he soon became the dominant voice and focus of the Jackson 5. An opening act for such soul groups as the O-Jays and James Brown, it was Gladys Knight (not Diana Ross) who officially brought the group to Berry Gordy's attention, By 1969, the boys were producing back-to-back chart-busting hits for Motown as 'I Want You Back', 'ABC', 'Never Can Say Goodbye', 'Got to Be There', etc. As a product of the 1970s, the boys emerged as one of the most accomplished black pop/soul vocal groups in music history, successfully evolving from a group like The Temptations to a disco phenomenon. He was originally intended to begin his solo career when he turned eighteen in 1976, but financial problems forced him to remain with the Jackson Five, renaming themselves The Jacksons for legals reasons, until 1979.
Solo success for Michael Jackson was inevitable, and by the 1980s, he had become infinitely more popular than his brotherly group. He was the first solo artist to generate four top ten hits on the Billboard charts on one album with his debut solo album 'Off the Wall' (1979). It sold around 20 million copies worldwide. This success culminated in the biggest-selling album of all time, 'Thriller' (1982) with sales of over 100 million copies worldwide. The album generated seven top ten hits in the USA. With his next album, 'Bad' (1987), he even generated five #1 hits in the USA. He was the highest-earning singer of 1988-1989, with $125 million from his worldwide 'Bad' album tour. A TV natural, he ventured rather uneasily into films, such as playing the Scarecrow opposite Diana Ross as Dorothy in The Wiz (Sidney Lumet, 1978), but he had much better luck with elaborate music videos. Jackson hired film director Martin Scorsese to direct the video for the "Bad" album's title track. When the 18-minute music video debuted on television, it sparked a great deal of controversy as it was apparent that Jackson's appearance had changed dramatically. Starting with 'Michael Jackson: Black or White' (1991), Jackson and his record company referred to his music videos as "short films," never "videos". His video for 'Michael Jackson: Thriller' (1983), which was directed by John Landis, is widely regarded as one of the greatest music videos of all time. In the 1990s, the downside as a 1980s pop phenomenon began to rear itself. Michael grew terribly child-like and introverted by his peerless celebrity. A rather timorous, androgynous figure to begin with, his physical appearance began to change drastically. In 1993 Jackson claimed that his changing skin color is due to a skin disorder vitiligo whilst on The Oprah Winfrey Show. His behaviour grew alarmingly bizarre, making him a consistent target for scandal-making, despite his numerous charitable acts. Two brief marriages - to Elvis Presley's daughter Lisa Marie Presley (1994-1996) and to Debbie Rowe (1996-1999) - were forged. He had two children with his second wife. The purposes behind these marriages appeared image-oriented. In November 2002, Jackson shocked his fans when he dangled his third child, infant Bigi Jackson, over a balcony on the fourth floor of a Berlin, Germany hotel for all hovering fans to see. Michael Jackson died in 2009 in Los Angeles, California. His death triggered an outpouring of grief. Fans gathered outside the UCLA Medical Center, his Holmby Hills home, the Apollo Theater in New York, and at Hitsville U.S.A., the old Motown headquarters in Detroit where his career began, now the Motown Museum. Streets around the hospital were blocked off, and across America people left offices and factories to watch the breaking news on television. Gary Brumburgh at IMDb: "His passion and artistry as a singer, dancer, writer, and businessman were unparalleled, and it is these prodigious talents that will ultimately prevail over the extremely negative aspects of his troubled adult life." Michael Jackson sold over 750 million albums worldwide.
Sources: Gary Brumburgh (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
“Relation is the essence of everything that exists.”—Meister Eckhart
“We are all beads strung on the same thread. Each one is different yet all are the same. Love is the essence of God in us all.”—lyrics to a song at MA Center, © MA Center
“You can’t be suspicious of a tree, or accuse a bird or a squirrel of subversion or challenge the ideology of a violet.”—Ron Larson
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------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
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence 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 taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie 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 ATHENS
* Dakar
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
Basque Veneziako Venecija [edit] Catalan 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
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
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
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 artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
NS 1145 erreicht mit einem Valkenburg-Express den Namen stiftenden Ort.
Damals wurden in den Ferienwochen samstags einige Intercitys der Relation Zandvoort-Maastricht für den Touristenverkehr bis nach Valkenburg verlängert.
"Feminin" är inget statiskt eller absolut begrepp, utan blir till i relation till "maskulin". Så tänker jag, och gräsänderna hjälper mig att visualisera det.
Relation is a god gifted prizes for human being.....When two hearts joins, thousands of star blinking.... thousands of new dreams born...... Hope everybody will find his or her whispering partner
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------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
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence 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 taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie 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 ATHENS
* Dakar
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
Basque Veneziako Venecija [edit] Catalan 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
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
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
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 artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------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]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence 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 taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie 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 ATHENS
* Dakar
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
Basque Veneziako Venecija [edit] Catalan 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
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
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
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 artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
The portrait of Romanian Countess Anna de Noailles, Princess Bassaraba Brancovan is one of the iconic paintings of the 20th century by the Basque painter Ignacio Zuloaga.
Anna de NoaIles biography is the object of a new Anthology published as an E-Book under the title:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
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LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
This collaborative performance at the 37th Venice Biennale in 1976 was the firs ins a series of relation works that would form this portfolio with the same title. Abramovic and Ulay repeatedly ran toward one another, their naked bodies colliding at ever-increasing speed. Using their bodies to explore the potential and failings within the male-female dualism, they pushed physical and mental limits, their stamina often determining the performance’s length.
Life is changing constantly and I have less time to breathe than photographing outside. I spend most of my time alone in home or office. But then I live in a wonderful corner of my house, where I can take pictures of unknown - without their permission but yes to make a memory.
In relation to Pathfinder Tours visiting Paignton with the Crompton Torbay Venturer Class 37 6975 worked five return trips from Paignton to Kingswear .
The 10:35 Paignton departure is seen at Goodrington Bank Holiday Monday 29/05/23.
Last week i took a couple of photo's for my Relation Project this is one of the photo's i also took that day but my choice was given to a other photo to publish for my project.