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Michael Taylor, representing Canon, at our inaugural Photographer Fight Club.
Pentax 645D
Pentax 645 D FA 55mm.
Lighting - Charcoal Grey background. Gridded Beauty Dish powered by Profoto Pro-7a as the main light. 2 medium size rectangular softboxes behind that were adding rimlight (powered by Profoto compacts). Strobes triggered with PocketWizards.
Chris Willson
CAMP FOSTER, OKINAWA, Japan -- Marine Blue Dress coat with medals and cover. All Marines are required to have Blue Dress uniforms by Oct. 1. (U.S. Marine Corps photo illustration by Pfc. Mike Granahan/Released)
"7 Days of Shooting" "Week #14” “Represent A Song or A Line From A Song " "Macro Monday"
Song - In my daughter's eyes by Martina McBride
In my daughter's eyes I am a hero
I am strong and wise and I know no fear
But the truth is plain to see
She was sent to rescue me
I see who I wanna be
In my daughter's eyes
In my daughter's eyes everyone is equal
Darkness turns to light and the
world is at peace
This miracle God gave to me gives me
strength when I am weak
I find reason to believe
In my daughter's eyes
And when she wraps her hand
around my finger
Oh it puts a smile in my heart
Everything becomes a little clearer
I realize what life is all about
It's hangin' on when your heart
has had enough
It's giving more when you feel like giving up
I've seen the light
It's in my daugter's eyes
In my daughter's eyes I can see the future
A reflection of who I am and what will be
Though she'll grow and someday leave
Maybe raise a family
When I'm gone I hope you see how happy
she made me
For I'll be there
In my daughter's eyes
By:- Ma'3RoOor..
It says that there are thirteen large segments which represent the thirteen moons which make up the lunar year. By counting the smaller segments around the lower edge of the shell, you will find there are 28, which represents the 28 days between new moons.
This head representing a man of regular features has been discovered on 1901, August. It must have come from a statue about 2 m tall.
The forehead of the portrayed man is low; his hair is arranged in a raw of short locks regularly arched from a “pincers” motif at the inner corner of the right eye. This detail is present on the portraits of Augustus, and was adopted, with some variations, by his successors.
Some small locks turned in the direction of the center of the face are reminiscent of representations of Gaius Caesar (20 BCE - 4 CE), the adopted son of Augustus and his intended heir, and other private portraits from the same period.
This hairstyle and the classical features of the portrait suggest its assignment to the years 25 BC – 35 AD during the reigns of Augustus and Tiberius. It resembles their portraits, but the face is not theirs.
One may suppose that the subject was a member of the local aristocracy whose loyalty to the values of the “Principatus” was equally proclaimed by deliberate imitation of the appearance and coiffure of the men of the imperial family.
Source: Museum information note
Roman bronze portrait
About 25 BC – 35 AD
From Torino
Torino, “Museo di antichità”
Tragic Actor
Ivory, AD 1-200
This intricate statuette represents an actor in the middle of a tragic performance. His pose and gestures are strongly expressive. Behind the mask, with its elaborate hairstyle and deep frown, the eyes and mouth are visible. The tunic is carefully rendered and he wears raised platform shoes called cothurni. Nero focused on performing demanding tragic roles, and wore similar outfits during his performances.
[British Museum]
Nero: the Man Behind the Myth
(May - Oct 2021)
Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.
The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.
Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.
Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?
Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.
Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.
Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.
He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.
Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.
In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.
Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.
Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.
When Claudius died in AD 54, Nero became emperor just two months before turning 17.
As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.
The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.
Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.
Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.
It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.
Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.
In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.
Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.
The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.
Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.
No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.
On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.
Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.
Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.
Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.
Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.
Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.
Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.
Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.
According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.
The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule
In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.
It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.
Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.
After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.
[Francesca Bologna, curator, for British Museum]
Taken in the British Museum
Introduced in 1925, FIAT's first mass-produced small car had been the 509, a highly successful design that succeeded in bringing civilised motoring within the financial reach of ordinary Italians. its successor - the 508 Balilla, introduced in 1932 - represented even greater value for money, being some 40 percent cheaper than the 509. Powered by a 995 cc, four-cylinder, sidevalve engine producing 20 bhp, the 508 featured a cruciform-braced chassis frame, three-speed gearbox (four-speed from 1934) and hydraulic brakes and could comfortably top 80 km/h. Three all-steel body types were offered on the 508 chassis: a two-door saloon, two-seat tourer, and four-seat tourer, in excess of 40.000 being made before the introduction of the four-speed Balilla in 1934. The original 508 was superseded by the overhead-valve 508C Balilla 1100 in 1937.
Un-restored and believed largely original condition, this charming Balilla pickup truck was discovered recently in an old castello in the Marche region of Italy. It is believed that the FIAT was used to deliver bread to a bakery's customers in the countryside, as evidenced by an old letter found in the car. The letter comes with it, as does the Italian libretto. An ideal fun vehicle for advertising purposes, or for supporting your pre-war competition car in style.
Les Grandes Marques du Monde au Grand Palais
Bonhams
Sold for € 11.500
Estimated : € 18.000 - 23.000
Parijs - Paris
Frankrijk - France
February 2017
Blue and natural tones....simple basics reminding of the sky, the sea and the earth...representing three of my favorite elements - among the other two:
1. air
2. water
3. wood
Nature is wonderfully coloured by herself and even her simplest tones carrry a charm...
According to Chinese Philosophy ( en.wikipedia.org/wiki/Wu_Xing ) there are five elements interacting in our world: air - water - wood - metal & fire....harmony lies in aquiring a perfect balance between them and my opinion is that this also refers to us as beings and personalities, expressed by our moods and emotions...one should know when to be more soft and when more hard....when to relax and enjoy and when to concentrate....when to be cool as fresh water and when to be passionate like fire...
1. Mystery, 2. Three chimneys up in the sky, 3. Spiders and a lock..., 4. Domestic goddess, 5. Dive into the blue..., 6. Golden 60's feel..., 7. Happy - simple - bench Monday!, 8. Seemingly uninhabited..., 9. Aqua dream
Created with fd's Flickr Toys
This represents my first attempt to post a photo taken with my new camera. I have been struggling off and on since January to learn how to link my EOS Rebel 3 to my Apple MiniMac and to learn to use the camera. (It's maual is 485+ pages of largely gibberish and cross references.) Up until now, I haven't been able to get anything to show up on my computer. At least this is a beginning. Now if I can just get the dioptic feature and focusing to work. What I need is a tutor. I'm surprised that there's not an amateur photographers' tutoring service. Maybe after the pandemic is over . . . . .
I have enjoyed seeing some of your postings both because of their quality and because they help me know you are okay.
Multicoloured lights and lasers illuminate Tsarevets Fortress on special days such as St. George's Day. The medieval stronghold on a hill in Veliko Tarnovo represents Bulgaria's tumultuous history. In the 13th and 14th centuries, it housed the royal palaces of the Second Bulgarian Empire. After being besieged by Ottoman forces for three months, it fell in 1393, and was eventually burnt down. That was the end of the Second Bulgarian Empire.
“Cheval retenu par un palefrenier”, aussi appelé “Cheval de Marly”
Réalisées par Guillaume Coustou l’Aîné au XVIIIe siècle
Coustou, Guillaume dit aussi , Guillaume Ier (Lyon, 1677 - Paris, 1746)
Hauteur : 3,4 m ; Largeur : 2,84 m ; Profondeur : 1,27 m ; Hauteur avec accessoire : 3,55 m
Marbre de Carrare
________________________________________________________________________________________________________
Website : GALERIE JUGUET
© All rights reserved ®
Website : MÉMOIRE DES PIERRES
© All rights reserved ®
________________________________________________________________________________________________________
Le “Cheval retenu par un palefrenier”, aussi appelé “Cheval de Marly”, fait partie d’un ensemble de deux sculptures monumentales réalisées par Guillaume Coustou l’Aîné au XVIIIe siècle. Ces œuvres sont parmi les plus célèbres de la sculpture française de cette époque.
Contexte historique :
Commande : En 1739, le roi Louis XV commande ces sculptures pour orner l’abreuvoir du château de Marly, lieu de villégiature royal.
Réalisation : Guillaume Coustou les réalise entre 1743 et 1745.
Sujet : Chaque groupe représente un palefrenier luttant pour maîtriser un cheval cabré, dans une composition dynamique pleine de tension et de mouvement.
Caractéristiques artistiques :
Style : Baroque tardif / Rococo, mais avec une puissance expressive et anatomique héritée de l’art classique.
Matériau : Marbre.
Dynamisme : Les chevaux sont représentés dans un élan violent, les muscles tendus, les crinières fouettées par le vent, ce qui accentue l’impression de mouvement.
Symbolique : Ces œuvres peuvent être interprétées comme une allégorie de la maîtrise des forces naturelles ou de l’esprit sur l’instinct.
Localisation actuelle :
Les originaux en marbre sont aujourd’hui conservés au musée du Louvre pour les préserver.
Des copies en plomb remplacent les originaux depuis 1984 à l’entrée des Champs-Élysées, place de la Concorde, à Paris.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
Installed in 1898, the A. E. Woolley Memorial stained glass window looks out onto the small south garden of St. Mark the Evangelist Church of England in Fitzroy.
The window is very tall, almost reaching the apex of the church. Possibly designed by British born, German trained, Melbourne stained glass artist William Montgomery, it is full of beautiful examples of brightly coloured and hand-painted stained glass panels. There are also several lozenges embedded throughout the window, representing flowers in bloom. In addition to very stylised Art Nouveau flowers, the window depicts a crown at the top, the nails and crown of thorns worn by Jesus in a quadrofoil of blue, a stylised cross and the letters IHS intertwined in a monogram half way down the lancet window. These letters are a contraction for "Iesus Hominum Salvator"; "Jesus, Savior of Men".
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John's, Heidelberg, St. Ignatius', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.
The Michigan Wolverines football program represents the University of Michigan in college football at the NCAA Division I Football Bowl Subdivision (formerly Division I-A) level. Michigan has the most all-time wins and the second highest winning percentage in college football history behind Notre Dame.
The team is known for its distinctive winged helmet, its fight song, its record-breaking attendance figures at Michigan Stadium, and its many rivalries, particularly its annual, regular-season-ending game against Ohio State, once voted as ESPN's best sports rivalry.
Michigan began competing in intercollegiate football in 1879. The Wolverines joined the Big Ten Conference at its inception in 1896, and other than a hiatus from 1907 to 1916, have been members since. Michigan has won or shared 42 league titles, and, since the inception of the AP Poll in 1936, has finished in the top 10 a total of 37 times. The Wolverines claim 11 national championships, most recently that of the 1997 squad voted atop the final AP Poll.
From 1900 to 1989, Michigan was led by a series of nine head coaches, each of whom has been inducted into the College Football Hall of Fame either as a player or as a coach. Fielding H. Yost became Michigan's head coach in 1901 and guided his "Point-a-Minute" squads to a streak of 56 games without a defeat, spanning from his arrival until the season finale in 1905, including a victory in the 1902 Rose Bowl, the first college football bowl game ever played. Fritz Crisler brought his winged helmet from Princeton University in 1938 and led the 1947 Wolverines to a national title and Michigan's second Rose Bowl win. Bo Schembechler coached the team for 21 seasons (1969–1989) in which he won 13 Big Ten titles and a program-record 194 games. The first decade of his tenure was underscored by a fierce competition with his former mentor, Woody Hayes, whose Ohio State Buckeyes squared off against Schembechler's Wolverines in a stretch of the Michigan–Ohio State rivalry dubbed the "Ten-Year War".
Schembechler's assistants Gary Moeller and Lloyd Carr helmed the team for the next 18 years, and continued the team's success. Rich Rodriguez succeeded Carr in 2008 and was fired after three seasons in which he compiled the worst record of any coach in program history. Brady Hoke succeeded Rodriguez, but after four years of steadily declining results, was dismissed following his fourth season. Following Hoke's dismissal, Michigan hired former quarterback Jim Harbaugh, who played for Michigan between 1983 and 1986 under Schembechler.
The Michigan Wolverines have featured 78 players that have garnered consensus selection to the College Football All-America Team. Three Wolverines have won the Heisman Trophy: Tom Harmon in 1940, Desmond Howard in 1991, and Charles Woodson in 1997. Gerald Ford, the 38th President of the United States, started at center and was voted most valuable player by his teammates on the 1934 team.
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This Nestorian Church officially known as the Church of St. George the Exiler, lies within the walls of the old town of Famagusta.
St. George of the Greeks, not to be confused with the similarly named St. George of the Latins, is the second largest church in Famagusta, and during the middle ages it served as the Cathedral for the Greek Orthodox community. It was built in the 12th century, to the west of a much earlier church dedicated to St. George and around a similar time the grand building of the Latin St. Nicholas Cathedral was initiated.
The build is thought to be financed by East Syrian Nestorian merchants, the Lakhas brothers, who were known for their immense wealth. The architecture and decorations of the building were reminiscent of the Southern French and Italian Gothic churches of the time and may have been influenced by King Peter I’s visit to Avignon in 1363. This version of the church’s history represents the virtual consensus of scholars of medieval Famagusta – however its architecture is also reminiscent of the 12th–13th century Crusader architecture in Palestine and Syria.
The Orthodox Cathedral
When the French Catholic Lusignans took rule of the island in 1191, they inherited an island that was predominately eastern Orthodox, and they immediately reduced the power of the church. In doing so, the southeast corner of Famagusta became a compact Greek quarter, and a conglomeration of several churches came about, most still inherent today and within close proximity of one another.
Although there was a perfectly serviceable cathedral church, namely the small Byzantine St. Simeon Church, the Orthodox community wanted a place of worship that rivalled its neighbouring counterparts. They built the much greater church with a wide central nave, two side aisles and huge columns that held up the nave vaulting.
Gothic elements were also added to the church’s north side to create a hybrid form of architecture that makes this 14th century Byzantine figure somewhat rare amongst Mediterranean churches, let alone those found in North Cyprus. The central nave also featured chapels on both sides, leading to a cross nave, all with rounded apses.
St. George of the Greeks became theOrthodox cathedral of Famagusta and was dedicated to St. Epiphanius Bishop of Salamis, who had gained a reputation as a strong defender of orthodoxy. It is believed the saint’s remains were formerly buried at the adjacent St. Simeon before his body was hauled off to the former Eastern Roman Empire capital of Constantinople, by Emperor Leo in the 9th century.
Unfortunately however, the structure was too large, with insufficient buttressing and a roof that was just too heavy, and years of modifications and renovations followed. The pillars throughout the nave were expanded to take more weight and the roof was inserted with large upturned terracotta pots to spread the load.
The church was not in existence long enough to find out if the revised compositions were sustainable. Taking the brunt of the Ottomans, evidence of which is still very evident in the remaining walls, the main of the build stood for a little over a hundred years.
Siege of Famagusta
After the capture of the city, the church was converted into a stable for camels, with worship here only being permitted once a year, during the feast of St. George the Exiler.
The Ottoman siege in 1571 left its marks on the structure and visitors today can still see cannon ball marks on the top of the church – look closely enough and you will also see some of the cannonballs still embedded in the walls. Consequently, little remains of its vaulted roof.
It is believed that during this era the apse was used as a shooting gallery, and there is much evidence in the form of bullet holes to be seen. By the 18th century, the walled city of Famagusta was more or less abandoned, with only a handful of residents living near to the desolate churches. Sailors from the nearby port would disembark and come into the city, sometimes sketching drawings of their ships into the plaster of these derelict churches. Some of these etchings can be seen at the western end of the St. George Greek church.
A passing glance and you will miss them though, a careful inspection of the wall is required.
British Era
In 1905, the British administration handed the church to the Greek Cypriots, who used it as their parish. By the 1930’s, many frescoes that were previously observed had disappeared, and between 1937 and 1939, Greek Cypriots undertook excavations and repaired some parts of the build.
Present Ruins
The church is still nevertheless home to numerous frescoes dated to the 14th and 15th centuries, depicting the life of Christ. Unlike Byzantine Orthodox churches, the frescoes in the Nestorian Church were not part of a unified design, and many were painted in differing periods by various artists. Visitors can still make out the faint outlines of once-rich frescos upon the interior stone walls.
The apse on the other hand may have had a unified design, but this is impossible to ascertain given the level of damage.
The church walls are made of ashlarand the structure has three naves and three apses. All three naves have entrances to their west. Originally, the church was built with a single nave and a protruding apse – the other two naves and two minor apses were added at a later date.
Some fragments of wall paintings still cling to the walls of the eastern apse and pieces of pottery jars sit within ceiling, which were thought to improve the church acoustics.
During the pre-Ottoman modifications, collars were added to support the overweight, and visitors will notice the remains of the iron clamps that were used to hold the blocks together.
A drawing of the church from the 18th century shows a dome on the church, not unlike the one on the nearby St. Nikolas Church, an octagonal drum with the dome sat on top. Even with the extra support added to the pillars, eventually the dome has fallen to inexistence.
Along the walls of the church, you can see several arched niches. These alcoves were the tombs of the patrons of the church. The sarcophagus was at ground level, while the brackets you can see would have held a stone slab, probably with an effigy of the deceased carved on it. It is believed that these niches were built after the walls, and their construction further weakened the roof support.
Excavations on this site have also unearthed coloured glass, most likely from the old church windows.
The only church in Famagusta that still has a bell, the Church of St. George of the Greeks is one of the best-preserved ones from the medieval times albeit the damage incurred and yet another impressive ruin to add to your visit list with much to discover.
Famagusta is a city on the east coast of the de facto state Northern Cyprus. It is located east of Nicosia and possesses the deepest harbour of the island. During the Middle Ages (especially under the maritime republics of Genoa and Venice), Famagusta was the island's most important port city and a gateway to trade with the ports of the Levant, from where the Silk Road merchants carried their goods to Western Europe. The old walled city and parts of the modern city are de facto part of Northern Cyprus as the capital of the Gazimağusa District.
The city was known as Arsinoe or Arsinoë (Greek: Ἀρσινόη, Arsinóē) in antiquity, after Ptolemy II of Egypt's sister and wife Arsinoe II.
By the 3rd century, the city appears as Ammochostos (Greek: Ἀμμόχωστος or Αμμόχωστος, Ammókhōstos, "Hidden in Sand") in the Stadiasmus Maris Magni.[5] This name is still used in modern Greek with the pronunciation [aˈmːoxostos], while it developed into Latin Fama Augusta, French Famagouste, Italian Famagosta, and English Famagusta during the medieval period. Its informal modern Turkish name Mağusa (Turkish pronunciation: [maˈusa]) came from the same source. Since 1974, it has formally been known to Turkey and Northern Cyprus as Gazimağusa ([ɡaːzimaˈusa]), from the addition of the title gazi, meaning "veteran" or "one who has faught in a holy war".
In the early medieval period, the city was also known as New Justiniana (Greek: Νέα Ἰουστινιανία, Néa Ioustinianía) in appreciation for the patronage of the Byzantine emperor Justinian, whose wife Theodora was born there.
The old town of Famagusta has also been nicknamed "the City of 365 Churches" from the legend that, at its peak, it boasted a church for every day of the year.
The city was founded around 274 BC, after the serious damage to Salamis by an earthquake, by Ptolemy II Philadelphus and named "Arsinoe" after his sister.[6] Arsinoe was described as a "fishing town" by Strabo in his Geographica in the first century BC. In essence, Famagusta was the successor of the most famous and most important ancient city of Cyprus, Salamis. According to Greek mythology, Salamis was founded after the end of the Trojan War by Teucros, the son of Telamon and brother of Aedes, from the Greek island of Salamis.
The city experienced great prosperity much later, during the time of the Byzantine emperor Justinian. To honor the city, from which his wife Theodora came, Justinian enriched it with many buildings, while the inhabitants named it New Justiniania to express their gratitude. In AD 647, when the neighboring cities were destroyed by Arab raiding, the inhabitants of these cities moved to Famagusta, as a result of which the city's population increased significantly and the city experienced another boom.
Later, when Jerusalem was occupied by the Arabs, the Christian population fled to Famagusta, as a result of which the city became an important Christian center, but also one of the most important commercial centers in the eastern Mediterranean.
The turning point for Famagusta was 1192 with the onset of Lusignan rule. It was during this period that Famagusta developed as a fully-fledged town. It increased in importance to the Eastern Mediterranean due to its natural harbour and the walls that protected its inner town. Its population began to increase. This development accelerated in the 13th century as the town became a centre of commerce for both the East and West. An influx of Christian refugees fleeing the downfall of Acre (1291) in Palestine transformed it from a tiny village into one of the richest cities in Christendom.
In 1372 the port was seized by Genoa and in 1489 by Venice. This commercial activity turned Famagusta into a place where merchants and ship owners led lives of luxury. By the mid-14th century, Famagusta was said to have the richest citizens in the world. The belief that people's wealth could be measured by the churches they built inspired these merchants to have churches built in varying styles. These churches, which still exist, were the reason Famagusta came to be known as "the district of churches". The development of the town focused on the social lives of the wealthy people and was centred upon the Lusignan palace, the cathedral, the Square and the harbour.
In 1570–1571, Famagusta was the last stronghold in Venetian Cyprus to hold out against the Turks under Mustafa Pasha. It resisted a siege of thirteen months and a terrible bombardment, until at last the garrison surrendered. The Ottoman forces had lost 50,000 men, including Mustafa Pasha's son. Although the surrender terms had stipulated that the Venetian forces be allowed to return home, the Venetian commander, Marco Antonio Bragadin, was flayed alive, his lieutenant Tiepolo was hanged, and many other Christians were killed.
With the advent of the Ottoman rule, Latins lost their privileged status in Famagusta and were expelled from the city. Greek Cypriots natives were at first allowed to own and buy property in the city, but were banished from the walled city in 1573–74 and had to settle outside in the area that later developed into Varosha. Turkish families from Anatolia were resettled in the walled city but could not fill the buildings that previously hosted a population of 10,000. This caused a drastic decrease in the population of Famagusta. Merchants from Famagusta, who mostly consisted of Latins that had been expelled, resettled in Larnaca and as Larnaca flourished, Famagusta lost its importance as a trade centre. Over time, Varosha developed into a prosperous agricultural town thanks to its location away from the marshes, whilst the walled city remained dilapidated.
In the walled city, some buildings were repurposed to serve the interests of the Muslim population: the Cathedral of St. Nicholas was converted to a mosque (now known as Lala Mustafa Pasha Mosque), a bazaar was developed, public baths, fountains and a theological school were built to accommodate the inhabitants' needs. Dead end streets, an Ottoman urban characteristic, was imported to the city and a communal spirit developed in which a small number of two-storey houses inhabited by the small upper class co-existed with the widespread one-storey houses.
With the British takeover, Famagusta regained its significance as a port and an economic centre and its development was specifically targeted in British plans. As soon as the British took over the island, a Famagusta Development Act was passed that aimed at the reconstruction and redevelopment of the city's streets and dilapidated buildings as well as better hygiene. The port was developed and expanded between 1903 and 1906 and Cyprus Government Railway, with its terminus in Famagusta, started construction in 1904. Whilst Larnaca continued to be used as the main port of the island for some time, after Famagusta's use as a military base in World War I trade significantly shifted to Famagusta. The city outside the walls grew at an accelerated rate, with development being centred around Varosha. Varosha became the administrative centre as the British moved their headquarters and residences there and tourism grew significantly in the last years of the British rule. Pottery and production of citrus and potatoes also significantly grew in the city outside the walls, whilst agriculture within the walled city declined to non-existence.
New residential areas were built to accommodate the increasing population towards the end of the British rule,[11] and by 1960, Famagusta was a modern port city extending far beyond Varosha and the walled city.
The British period saw a significant demographic shift in the city. In 1881, Christians constituted 60% of the city's population while Muslims were at 40%. By 1960, the Turkish Cypriot population had dropped to 17.5% of the overall population, while the Greek Cypriot population had risen to 70%. The city was also the site for one of the British internment camps for nearly 50,000 Jewish survivors of the Holocaust trying to emigrate to Palestine.
From independence in 1960 to the Turkish invasion of Cyprus of 1974, Famagusta developed toward the south west of Varosha as a well-known entertainment and tourist centre. The contribution of Famagusta to the country's economic activity by 1974 far exceeded its proportional dimensions within the country. Whilst its population was only about 7% of the total of the country, Famagusta by 1974 accounted for over 10% of the total industrial employment and production of Cyprus, concentrating mainly on light industry compatible with its activity as a tourist resort and turning out high-quality products ranging from food, beverages and tobacco to clothing, footwear, plastics, light machinery and transport equipment. It contributed 19.3% of the business units and employed 21.3% of the total number of persons engaged in commerce on the island. It acted as the main tourist destination of Cyprus, hosting 31.5% of the hotels and 45% of Cyprus' total bed capacity. Varosha acted as the main touristic and business quarters.
In this period, the urbanisation of Famagusta slowed down and the development of the rural areas accelerated. Therefore, economic growth was shared between the city of Famagusta and the district, which had a balanced agricultural economy, with citrus, potatoes, tobacco and wheat as main products. Famagusta maintained good communications with this hinterland. The city's port remained the island's main seaport and in 1961, it was expanded to double its capacity in order to accommodate the growing volume of exports and imports. The port handled 42.7% of Cypriot exports, 48.6% of imports and 49% of passenger traffic.
There has not been an official census since 1960 but the population of the town in 1974 was estimated to be around 39,000 not counting about 12,000–15,000 persons commuting daily from the surrounding villages and suburbs to work in Famagusta. The number of people staying in the city would swell to about 90,000–100,000 during the peak summer tourist period, with the influx of tourists from numerous European countries, mainly Britain, France, Germany and the Scandinavian countries. The majority of the city population were Greek Cypriots (26,500), with 8,500 Turkish Cypriots and 4,000 people from other ethnic groups.
During the second phase of the Turkish invasion of Cyprus on 14 August 1974 the Mesaoria plain was overrun by Turkish tanks and Famagusta was bombed by Turkish aircraft. It took two days for the Turkish Army to occupy the city, prior to which Famagusta's entire Greek Cypriot population had fled into surrounding fields. As a result of Turkish airstrikes dozens of civilians died, including tourists.
Unlike other parts of the Turkish-controlled areas of Cyprus, the Varosha suburb of Famagusta was fenced off by the Turkish army immediately after being captured and remained fenced off until October 2020, when the TRNC reopened some streets to visitors. Some Greek Cypriots who had fled Varosha have been allowed to view the town and journalists have been allowed in.
UN Security Council resolution 550 (1984) considers any attempts to settle any part of Famagusta by people other than its inhabitants as inadmissible and calls for the transfer of this area to the administration of the UN. The UN's Security Council resolution 789 (1992) also urges that with a view to the implementation of resolution 550 (1984), the area at present under the control of the United Nations Peace-keeping Force in Cyprus be extended to include Varosha.
Famagusta's historic city centre is surrounded by the fortifications of Famagusta, which have a roughly rectangular shape, built mainly by the Venetians in the 15th and 16th centuries, though some sections of the walls have been dated earlier times, as far as 1211.
Some important landmarks and visitor attractions in the old city are:
The Lala Mustafa Pasha Mosque
The Othello Castle
Palazzo del Provveditore - the Venetian palace of the governor, built on the site of the former Lusignan royal palace
St. Francis' Church
Sinan Pasha Mosque
Church of St. George of the Greeks
Church of St. George of the Latins
Twin Churches
Nestorian Church (of St George the Exiler)
Namık Kemal Dungeon
Agios Ioannis Church
Venetian House
Akkule Masjid
Mustafa Pasha Mosque
Ganchvor monastery
In an October 2010 report titled Saving Our Vanishing Heritage, Global Heritage Fund listed Famagusta, a "maritime ancient city of crusader kings", among the 12 sites most "On the Verge" of irreparable loss and destruction, citing insufficient management and development pressures.
Famagusta is an important commercial hub of Northern Cyprus. The main economic activities in the city are tourism, education, construction and industrial production. It has a 115-acre free port, which is the most important seaport of Northern Cyprus for travel and commerce. The port is an important source of income and employment for the city, though its volume of trade is restricted by the embargo against Northern Cyprus. Its historical sites, including the walled city, Salamis, the Othello Castle and the St Barnabas Church, as well as the sandy beaches surrounding it make it a tourist attraction; efforts are also underway to make the city more attractive for international congresses. The Eastern Mediterranean University is also an important employer and supplies significant income and activity, as well as opportunities for the construction sector. The university also raises a qualified workforce that stimulates the city's industry and makes communications industry viable. The city has two industrial zones: the Large Industrial Zone and the Little Industrial Zone. The city is also home to a fishing port, but inadequate infrastructure of the port restricts the growth of this sector. The industry in the city has traditionally been concentrated on processing agricultural products.
Historically, the port was the primary source of income and employment for the city, especially right after 1974. However, it gradually lost some of its importance to the economy as the share of its employees in the population of Famagusta diminished due to various reasons. However, it still is the primary port for commerce in Northern Cyprus, with more than half of ships that came to Northern Cyprus in 2013 coming to Famagusta. It is the second most popular seaport for passengers, after Kyrenia, with around 20,000 passengers using the port in 2013.
The mayor-in-exile of Famagusta is Simos Ioannou. Süleyman Uluçay heads the Turkish Cypriot municipal administration of Famagusta, which remains legal as a communal-based body under the constitutional system of the Republic of Cyprus.
Since 1974, Greek Cypriots submitted a number of proposals within the context of bicommunal discussions for the return of Varosha to UN administration, allowing the return of its previous inhabitants, requesting also the opening of Famagusta harbour for use by both communities. Varosha would have been returned to Greek Cypriot control as part of the 2004 Annan Plan but the plan had been rejected by a majority(3/4) of Greek Cypriot voters.
The walled city of Famagusta contains many unique buildings. Famagusta has a walled city popular with tourists.
Every year, the International Famagusta Art and Culture Festival is organized in Famagusta. Concerts, dance shows and theater plays take place during the festival.
A growth in tourism and the city's university have fueled the development of Famagusta's vibrant nightlife. Nightlife in the city is especially active on Wednesday, Friday and Saturday nights and in the hotter months of the year, starting from April. Larger hotels in the city have casinos that cater to their customers. Salamis Road is an area of Famagusta with a heavy concentration of bars frequented by students and locals.
Famagusta's Othello Castle is the setting for Shakespeare's play Othello. The city was also the setting for Victoria Hislop's 2015 novel The Sunrise, and Michael Paraskos's 2016 novel In Search of Sixpence. The city is the birthplace of the eponymous hero of the Renaissance proto-novel Fortunatus.
Famagusta was home to many Greek Cypriot sport teams that left the city because of the Turkish invasion and still bear their original names. Most notable football clubs originally from the city are Anorthosis Famagusta FC and Nea Salamis Famagusta FC, both of the Cypriot First Division, which are now based in Larnaca. Usually Anorthosis Famagusta fans are politically right wing where Nea Salamis fans are left wing.
Famagusta is represented by Mağusa Türk Gücü in the Turkish Cypriot First Division. Dr. Fazıl Küçük Stadium is the largest football stadium in Famagusta. Many Turkish Cypriot sport teams that left Southern Cyprus because of the Cypriot intercommunal violence are based in Famagusta.
Famagusta is represented by DAÜ Sports Club and Magem Sports Club in North Cyprus First Volleyball Division. Gazimağusa Türk Maarif Koleji represents Famagusta in the North Cyprus High School Volleyball League.
Famagusta has a modern volleyball stadium called the Mağusa Arena.
The Eastern Mediterranean University was founded in the city in 1979. The Istanbul Technical University founded a campus in the city in 2010.
The Cyprus College of Art was founded in Famagusta by the Cypriot artist Stass Paraskos in 1969, before moving to Paphos in 1972 after protests from local hoteliers that the presence of art students in the city was putting off holidaymakers.
Famagusta has three general hospitals. Gazimağusa Devlet Hastahanesi, a state hospital, is the biggest hospital in city. Gazimağusa Tıp Merkezi and Gazimağusa Yaşam Hastahanesi are private hospitals.
Personalities
Saint Barnabas, born and died in Salamis, Famagusta
Chris Achilleos, illustrator of the book versions on the BBC children's series Doctor Who
Beran Bertuğ, former Governor of Famagusta, first Cypriot woman to hold this position
Marios Constantinou, former international Cypriot football midfielder and current manager.
Eleftheria Eleftheriou, Cypriot singer.
Derviş Eroğlu, former President of Northern Cyprus
Alexis Galanos, 7th President of the House of Representatives and Famagusta mayor-in-exile (2006-2019) (Republic of Cyprus)
Xanthos Hadjisoteriou, Cypriot painter
Oz Karahan, political activist, President of the Union of Cypriots
Oktay Kayalp, former Turkish Cypriot Famagusta mayor (Northern Cyprus)
Harry Luke British diplomat
Angelos Misos, former international footballer
Costas Montis was an influential and prolific Greek Cypriot poet, novelist, and playwright born in Famagusta.
Hal Ozsan, actor (Dawson's Creek, Kyle XY)
Dimitris Papadakis, a Greek Cypriot politician, who served as a Member of the European Parliament.
Ṣubḥ-i-Azal, Persian religious leader, lived and died in exile in Famagusta
Touker Suleyman (born Türker Süleyman), British Turkish Cypriot fashion retail entrepreneur, investor and reality television personality.
Alexia Vassiliou, singer, left here as a refugee when the town was invaded.
George Vasiliou, former President of Cyprus
Vamik Volkan, Emeritus Professor of Psychiatry
Derviş Zaim, film director
Famagusta is twinned with:
İzmir, Turkey (since 1974)
Corfu, Greece (since 1994)
Patras, Greece (since 1994)
Antalya, Turkey (since 1997)
Salamina (city), Greece (since 1998)
Struga, North Macedonia
Athens, Greece (since 2005)
Mersin, Turkey
Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.
Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.
A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.
Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.
Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.
Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.
Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.
The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.
Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.
Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.
By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.
EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.
However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.
On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.
In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.
By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.
In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.
The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.
After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".
As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.
Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.
On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.
The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.
Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.
The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.
Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.
Main articles: Bloody Christmas (1963) and Battle of Tillyria
An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."
In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.
Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.
In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.
Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.
Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.
Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.
The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:
UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.
The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.
By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."
After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.
On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.
The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.
During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.
In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.
Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.
A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.
portfolio shoot with model Ebba in Bohuslän, Sweden
Ebba is represented by Avenuemodeller, Gothenburg.
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This iconographic type – very often represented among the Nuragic bronze figurines – has been reported only twice among the Monte Prama statues, plus a third possible case, of which only one is in a good state of preservation.
This is the best preserved warrior's statue: it is among the most striking pieces of Monte Prama. Besides the horned helmet – whose horns are broken – it is marked by the presence of an armor with vertical stripes, short on the back but solid on the shoulders and more expanded on the breast.
The head exhibits an "envelope-shaped", crested and horned Nuragic helmet that – like archers' helmets – must have presented the typical long horns portrayed in bronze figurines. Several small cylindrical fragments have in fact been found during excavations. Once recomposed, some of these horns appear to bear small spheres at their terminal ends, like in some bronzetti, either anthropomorphic (in this case only warriors, never archers) or zoomorphic.
By analogy with armours visible on several bronze figurines, it is thought that the breastplate was built of metal strips applied on hardened leather. A panel, decorated and fringed, comes out from the lower part of the breastplate.
The shield is represented in a very detailed way, with chevron patterns reminiscent of geometrical drawings, and with radiating grooves that converge towards the shield-boss.
Nuragic sandstone sculpture
X - 1st half of VIII cent. BC
Drom Monte Prana, Cabras, Oristano, Sardinia
Cagliari Archaeological Museum
Source: Wikipedia Giants of Monte Prama page.
Fugro Synergy represents a new generation high technology drillship built in response to an increasing demand for cost effective drilling solutions.
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General
Vessel Name Fugro Synergy
Builder / Year Bergen Group Halsnoy AS / 2009
Owner / Operator Fugro Synergy, Inc. / Fugro Drilling & Well Services
Flag Bahamian
Speed Transit 12 knots (Economic Cruise)
Call Sign C6XR3 (Charlie Six X-ray Romeo Three)
Classification
+1A1 R ICE-C Ship-shaped Drilling Unit SF,
COMF-V(3) HELDK-SH E0 DYNPOS-AUTR CLEAN,
DRILL DK (+)
Port of registry Nassau
Endurance 45 days cruising
Operational water depth 25 m to 3000 m
Dimensions
Length over all (L.O.A.) 103.7 m
Beam (mid) 19.7 m
Free board 8.7 m
Draft 6.3 m (6.5 m Summer)
Displacement 9287 tons (deadweight 3775 tons)
NRT 1963 tons
GRT 6543 tons
Helideck D= 21 m; suitable for Sikorsky S92 helicopter
Moonpool 7.2 m x 7.2 m
Accommodations / Rooms
Cabins 24 x single, 28 x double, 1 x 4 man cabins
Day room 1 Non-Smoking – 1 Smoking
Fitness room Yes
Conference room Yes
Client office 1
Hospital 1 x 1 bed
Machinery
Main engine (5) Caterpillar type 3516C - 2,188 kW @1,800 rpm
Main engine generators (5) Siemens - 2,188 kW @1,800 rpm
Electrical system 690/450/230V-60 Hz
Propulsion (2) Ulstein-Aquamaster Azimuth Thruster type
AZP100/M-280 - 2,200 kW @1,200 rm
Side thruster (2) Kamewa Ulstein TT2200 SS DPN CP Tunnel
Thruster - 1,050 kW @1,190 rpm
Azimuth thruster (1) Ulstein-Aquamaster Azimuth Thruster type UL 1201 - 883 kW @1,800 rpm
Emergency generator (1) 219 kVA 690 V 60 Hz @ 1,800 rpm
Emergency generator engine (1) Volvo Penta 339 kW @ 1,800 rpm
Capacity
Fuel capacity 1,357 m3
Fuel consumption DP 12 m3
/day; Transit 28 m3 /day
Water capacity Potable 805 m3
; Ballast 2,873 m3
; Drill 1737 m3
Water making 1 x 40 m3 /day
Communications
V-sat Voice + Data access (multiple bands)
Safety
Lifeboats (TEMPSC) 2 x Schat-Harding KISS 1000 - 90 person
Fast rescue boat 1 x Mare Safety GRP700 230 hp
Liferafts 2 x Viking & 4 x DSB (35 men each)
Survival Suits 113
Life jackets 114 + 8 Children Sized
Deck Machinery
Deck Cranes 5–ton Knuckle-boom Provisions crane
Aft Deck Crane 25–ton AHC Knuckle-boom Offshore Crane
Positioning / Navigation
Echosounder 1 x Furuno FE-700
S-band radar (ARPA) 1 x Furuno FAR-2837-S
X-band radar 1 x Furuno FAR-2827, 1 x Furuno FAR-2117
Gyro compass (3) Simrad GC-80
Automatic pilot Simrad AP 50
Doppler log Furuno DS-80
Anemometer Gill OMC-139
GPS (2) DGPS Furuno GP-150
ECDIS 2 x TRANSAS 4000 (Main & Backup)
Transporter (SART) 2 x Tron SART-20 plus 2 in lifeboats
Drilling System / Seabed Frame System
Drilling Derrick Fugro SeaCore R-190
Drilling Rig SeaCore R-190
Max Load 150 tonnes, SWL Below Top Drive
Heave Compensation BoschRexroth stroke 7m, Passive
Top Drive National Oilwell Varco TDS 250
Drill Pipe Length Drill Pipe API Range 2 (trips Doubles)
Pipe Handling Aker PDPH Pipe Handler
Rotary Slips Hydraulic Power Slips
Mud Pumps (3) Wirth TPK800; each 949 l/min @340 bar to
2,762 l/min @ 115 bar
Mud Mixing Pumps (2) Baker SPF MUD HOG 2.5,
each 227 m3/h @ 4 bar
Mud Tanks (2) 85.9 m3
+ (1) 65.9 m3
+ (1) 44.9 m3
+ (1) 23.8m3
Bulk Cement Tanks 2 x 75 m3
Barite/Gel Dry 4 x 75 m3
Heavy Load Winch 2 x 32 tonne, 60 m/min (3,000 m WD)
Seabed Frame 15 tonnes Air weight, 4.5 m wire separation
Geotechnical Systems / Laboratory
Downhole WISON®
Seabed SEADEVIL, SEACALF®
Onboard Laboratory Permanent, 259 m2
Sample Storage 2.4 m x 3 m refrigerated container
Control and Navigation
DP System DP2 - Kongsberg K-POS
Reference systems 2 x DGPS, 2 x Starpack, 1 x Taut Wire, 2 x HPR
Wind indicators 3 Indicator (OMC-139D)
Vertical reference system 2 x Seatex MRU
City Harvest Lead Distribution Center Associate Kareem Weekes at work with a rider pallet jack and rescued carrots before U.S. Department of Agriculture (USDA) Secretary Tom Vilsack and U.S. Environmental Protection Agency (EPA) Acting Deputy Administrator Stan Meiberg will join with private industry and charitable organizations represented by City Harvest Executive Director Jilly Stephens, Food Marketing Institute President and CEO Leslie Sarasin; and Feeding America Chief Supply Chain Officer Bill Thomas, to announce the United States’ first food waste reduction goals at City Harvest’s food recycling facility in Long Island City, N.Y., on Wednesday, September 16, 2015. The announcement occurs just one week before world leaders begin to gather at the United Nations General Assembly in New York to address sustainable development practices and goals, including sustainable production and consumption. City Harvest rescues excess food using a fleet of 19 refrigerated trucks, three cargo bikes, over 150 full-time employees, and more than 8,000 volunteers. In fiscal year 2015, they will collect 50 million pounds of food, greater than the total amount of food collected in its first 14 years combined. Seventy-five percent of this total will be comprised of nutrient dense foods, including fresh produce, meat and dairy. - See more at: blogs.usda.gov/2015/01/07/new-yorks-city-harvest-wins-u-s... U.S. Food Waste Challenge. Beginning in August 2014, food banks across the country competed to see who could sign up the most food donors to the U.S. Food Waste Challenge. From among the 200 food banks in the Feeding America network, the champion was City Harvest for signing up 114 donors to the Challenge. USDA Photo by Lance Cheung.
The Red Fort was the residence of the Mughal emperor of India for nearly 200 years, until 1857. It is located in the centre of Delhi and houses a number of museums. In addition to accommodating the emperors and their households, it was the ceremonial and political centre of Mughal government and the setting for events critically impacting the region.
The Red Fort was built as the fortified palace of Shahjahanabad, capital of the fifth Mughal Emperor Shah Jahan, in 1648. Named for its massive enclosing walls of red sandstone, it is adjacent to the older Salimgarh Fort, built by Islam Shah Suri in 1546. The imperial apartments consist of a row of pavilions, connected by a water channel known as the Stream of Paradise (Nahr-i-Behisht). The Red Fort is considered to represent the zenith of Mughal creativity under Shah Jahan. Although the palace was planned according to Islamic prototypes, each pavilion contains architectural elements typical of Mughal buildings, reflecting a fusion of Timurid, Persian and Hindu traditions. The Red Fort’s innovative architectural style, including its garden design, influenced later buildings and gardens in Delhi, Rajasthan, Punjab, Kashmir, Braj, Rohilkhand and elsewhere. With the Salimgarh Fort, it was designated a UNESCO World Heritage Site in 2007 as part of the Red Fort Complex.
The Red Fort is an iconic symbol of India. On Independence Day, the prime minister hoists the national flag at the main gate of the fort and delivers a nationally-broadcast speech from its ramparts.
NAME
Its English name, "Red Fort", is a translation of the Hindustani Lal Quila (لال قلعہ, लाल क़िला) deriving from its red-sandstone walls. As the residence of the imperial family, the fort was originally known as the "Blessed Fort" (Quila-i-Mubarak). Agra Fort is also called Lal Quila.
HISTORY
Emperor Shah Jahan commissioned construction of the Red Fort in 1638, when he decided to shift his capital from Agra to Delhi. Its design is credited to architect Ustad Ahmad Lahauri. The fort lies along the Yamuna River, which fed the moats surrounding most of the walls. Construction began in the sacred month of Muharram, on 13 May 1638. Supervised by Shah Jahan, it was completed in 1648. Unlike other Mughal forts, the Red Fort's boundary walls are asymmetrical to contain the older Salimgarh Fort. The fortress-palace was a focal point of the medieval city of Shahjahanabad, which is present-day Old Delhi. Its planning and aesthetics represent the zenith of Mughal creativity prevailing during Shah Jahan's reign. His successor Aurangzeb added the Pearl Mosque to the emperor's private quarters, constructing barbicans in front of the two main gates to make the entrance to the palace more circuitous.
The administrative and fiscal structure of the Mughals declined after Aurangzeb, and the 18th century saw a degeneration of the palace. When Jahandar Shah took over the Red Fort in 1712, it had been without an emperor for 30 years. Within a year of beginning his rule, Shah was murdered and replaced by Farukhsiyar. To raise money, the silver ceiling of the Rang Mahal was replaced by copper during this period. Muhammad Shah, known as 'Rangila' (the Colourful) for his interest in art, took over the Red Fort in 1719. In 1739, Persian emperor Nadir Shah easily defeated the Mughal army, plundering the Red Fort including the Peacock Throne. Nadir Shah returned to Persia after three months, leaving a destroyed city and a weakened Mughal empire to Muhammad Shah. The internal weakness of the Mughal empire made the Mughals titular heads of Delhi, and a 1752 treaty made the Marathas protectors of the throne at Delhi. The 1758 Maratha conquest of Lahore and Peshawar placed them in conflict with Ahmad Shah Durrani. In 1760, the Marathas removed and melted the silver ceiling of the Diwan-i-Khas to raise funds for the defence of Delhi from the armies of Ahmed Shah Durrani. In 1761, after the Marathas lost the third battle of Panipat, Delhi was raided by Ahmed Shah Durrani. Ten years later, Shah Alam ascended the throne in Delhi with Maratha support. In 1783 the Sikh Misl Karorisinghia, led by Baghel Singh Dhaliwal, conquered Delhi and the Red Fort. The Sikhs agreed to restore Shah Alam as emperor and retreat from the fort if the Mughals would build and protect seven Gurudwaras in Delhi for the Sikh gurus.
During the Second Anglo-Maratha War in 1803, forces of British East India Company defeated Maratha forces in the Battle of Delhi; this ended Maratha rule of the city and their control of the Red Fort. After the battle, the British took over the administration of Mughal territories and installed a Resident at the Red Fort. The last Mughal emperor to occupy the fort, Bahadur Shah II, became a symbol of the 1857 rebellion against the British in which the residents of Shahjahanbad participated.
Despite its position as the seat of Mughal power and its defensive capabilities, the Red Fort was not defended during the 1857 uprising against the British. After the rebellion failed, Bahadur Shah II left the fort on 17 September and was apprehended by British forces. He returned to Red Fort as a prisoner of the British, was tried in 1858 and exiled to Rangoon on 7 October of that year. With the end of Mughal reign, the British sanctioned the systematic plunder of valuables from the fort's palaces. All furniture was removed or destroyed; the harem apartments, servants' quarters and gardens were destroyed, and a line of stone barracks built. Only the marble buildings on the east side at the imperial enclosure escaped complete destruction, but were looted and damaged. While the defensive walls and towers were relatively unharmed, more than two-thirds of the inner structures were destroyed by the British; steps were later taken by Lord Curzon to repair some damage.
1911 saw the visit of the British king and queen for the Delhi Durbar. In preparation of the visit, some buildings were restored. The Red Fort Archaeological Museum was also moved from the drum house to the Mumtaz Mahal.
The INA trials, also known as the Red Fort Trials, refer to the courts-martial of a number of officers of the Indian National Army. The first was held between November and December 1945 at the Red Fort.
On 15 August 1947, the first Prime Minister of India Jawaharlal Nehru raised the Indian national flag above the Lahore Gate. On each subsequent Independence Day, the prime minister has raised the flag and given a speech that is broadcast nationally.
After Indian Independence the site experienced few changes, and the Red Fort continued to be used as a military cantonment. A significant part of the fort remained under Indian Army control until 22 December 2003, when it was given to the Archaeological Survey of India for restoration. In 2009 the Comprehensive Conservation and Management Plan (CCMP), prepared by the Archaeological Survey of India under Supreme Court directions to revitalise the fort, was announced.
As the largest monument in Delhi, is one of its most popular tourist destinations and attracts thousands of visitors every year.
THE FORT TODAY
Every year on 15 August (the day India achieved independence from the British), the Prime Minister hoists the national flag at the Red Fort and delivers a nationally-broadcast speech from its ramparts. The Red Fort, the largest monument in Delhi, is one of its most popular tourist destinations and attracts thousands of visitors every year.
A sound and light show describing Mughal history is a tourist attraction in the evenings. The major architectural features are in mixed condition; the extensive water features are dry. Some buildings are in fairly-good condition, with their decorative elements undisturbed; in others, the marble inlaid flowers have been removed by looters. The tea house, although not in its historical state, is a working restaurant. The mosque and hamam are closed to the public, although visitors can peer through their glass windows or marble latticework. Walkways are crumbling, and public toilets are available at the entrance and inside the park.
The Lahore Gate entrance leads to a mall with jewellery and craft stores. There are a museum of "blood paintings", depicting young 20th-century Indian martyrs and their stories, an archaeological museum and an Indian war-memorial museum. Although, Red Fort is still one of the most beautiful and well designed forts in the world.
ARCHITECTURE
The Red Fort has an area of 103.06 ha enclosed by 2.41 kilometres of defensive walls, punctuated by turrets and bastions and varying in height from 18 metres on the river side to 33 metres on the city side. The fort is octagonal, with the north-south axis longer than the east-west axis. The marble, floral decorations and double domes in the fort's buildings exemplify later Mughal architecture.
It showcases a high level of ornamentation, and the Kohinoor diamond was reportedly part of the furnishings. The fort's artwork synthesises Persian, European and Indian art, resulting in a unique Shahjahani style rich in form, expression and colour. Red Fort is one of the building complexes of India encapsulating a long period of history and its arts. Even before its 1913 commemoration as a monument of national importance, efforts were made to preserve it for posterity.
The Lahori and Delhi Gates were used by the public, and the Khizrabad Gate was for the emperor. The Lahore Gate is the main entrance, leading to a domed shopping area known as the Chatta Chowk (covered bazaar).
MAJOR STRUCTURES
The most-important surviving structures are the walls and ramparts, the main gates, the audience halls and the imperial apartments on the eastern riverbank.
LAHORI GATE
The Lahori Gate is the main gate to the Red Fort, named for its orientation towards the city of Lahore. During Aurangzeb's reign, the beauty of the gate was spoiled by the addition of bastions (Like a veil drawn across the face of a beautiful woman). Every Indian Independence Day since 1947, the national flag has flown and the Prime Minister has made a speech from its ramparts.
DELHI GATE
The Delhi Gate is the southern public gate, in layout and appearance similar to the Lahori Gate. Two life-size stone elephants, on either side of the gate, face each other.
WATER GATE
A minor gate, the Water Gate is at the southeastern end of the walls. It was formerly on the riverbank; although the river has changed course since the fort's construction, the name has remained.
CHHATTA CHOWK
Adjacent to the Lahori Gate is the Chhatta Chowk, where silk, jewellery and other items for the imperial household were sold during the Mughal period. The bazaar leads to an open outer court, where it crosses the large north-south street which originally divided the fort's military functions (to the west) from the palaces (to the east). The southern end of the street is the Delhi Gate.
NAUBAT KHANA
The vaulted arcade of the Chhatta Chowk ends in the centre of the outer court, which measured 160 m × 110 m. The side arcades and central tank were destroyed after the 1857 rebellion.
In the east wall of the court stands the now-isolated Naubat Khana (also known as Nakkar Khana), the drum house. Music was played at scheduled times daily next to a large gate, where everyone except royalty was required to dismount.
DIWAN-I-AAM
The inner main court to which the Nakkar Khana led was 160 m wide and 130 m deep, surrounded by guarded galleries. On the far side is the Diwan-i-Aam, the Public Audience Hall.
The hall's columns and engrailed arches exhibit fine craftsmanship, and the hall was originally decorated with white chunam stucco. In the back in the raised recess the emperor gave his audience in the marble balcony (jharokha).
The Diwan-i-Aam was also used for state functions. The courtyard (mardana) behind it leads to the imperial apartments.
NAHR-I-BEHISHT
The imperial apartments consist of a row of pavilions on a raised platform along the eastern edge of the fort, overlooking the Yamuna. The pavilions are connected by a canal, known as the Nahr-i-Behisht ("Stream of Paradise"), running through the centre of each pavilion. Water is drawn from the Yamuna via a tower, the Shahi Burj, at the northeast corner of the fort. The palace is designed to emulate paradise as described in the Quran. In the riverbed below the imperial apartments and connected buildings was a space known as zer-jharokha ("beneath the latticework").
MUMTAZ MAHAL
The two southernmost pavilions of the palace are zenanas (women's quarters), consisting of the Mumtaz Mahal and the larger Rang Mahal. The Mumtaz Mahal houses the Red Fort Archaeological Museum.
RANG MAHAL
The Rang Mahal housed the emperor's wives and mistresses. Its name means "Palace of Colours", since it was brightly painted and decorated with a mosaic of mirrors. The central marble pool is fed by the Nahr-i-Behisht.
KHAS MAHAL
The Khas Mahal was the emperor's apartment. Connected to it is the Muthamman Burj, an octagonal tower where he appeared before the people waiting on the riverbank.
DIWAN-I-KHAS
A gate on the north side of the Diwan-i-Aam leads to the innermost court of the palace (Jalau Khana) and the Diwan-i-Khas (Hall of Private Audience). It is constructed of white marble, inlaid with precious stones. The once-silver ceiling has been restored in wood. François Bernier described seeing the jewelled Peacock Throne here during the 17th century. At either end of the hall, over the two outer arches, is an inscription by Persian poet Amir Khusrow:
If heaven can be on the face of the earth,
It is this, it is this, it is this.
HAMMAM
The hammam were the imperial baths, consisting of three domed rooms floored with white marble.
MOTI MASJID
West of the hammam is the Moti Masjid, the Pearl Mosque. A later addition, it was built in 1659 as a private mosque for Aurangzeb. It is a small, three-domed mosque carved in white marble, with a three-arched screen leading down to the courtyard.
HIRA MAHAL
The Hira Mahal is a pavilion on the southern edge of the fort, built under Bahadur Shah II and at the end of the Hayat Baksh garden. The Moti Mahal on the northern edge, a twin building, was destroyed during (or after) the 1857 rebellion.
SHAHI BURJ
The Shahi Burj was the emperor's main study of the; its name means "Emperor's Tower", and it originally had a chhatri on top. Heavily damaged, the tower is undergoing reconstruction. In front of it is a marble pavilion added by Aurangzeb.
HAYAT BAKHSH BAGH
The Hayat Bakhsh Bagh is the "Life-Bestowing Garden" in the northeast part of the complex. It features a reservoir (now dry) and channels, and at each end is a white marble pavilion (Savon and Bhadon). In the centre of the reservoir is the red-sandstone Zafar Mahal, added about 1842 under Bahadur Shah II.
Smaller gardens (such as the Mehtab Bagh or Moonlight Garden) existed west of it, but were destroyed when the British barracks were built. There are plans to restore the gardens. Beyond these, the road to the north leads to an arched bridge and the Salimgarh Fort.
PRINCES´ QUARTER
North of the Hayat Bakhsh Bagh and the Shahi Burj is the quarter of the imperial princes. This was used by member of the Mughal royal family and was largely destroyed by the British forces after the rebellion. One of the palaces was converted into a tea house for the soldiers.
WIKIPEDIA
Thomas Perry is direct descendent of Sarah and Edmund Perry (and my gggrandfather). This photo is about 100 years old. This is the same line that Oliver Hazard Perry, Matthew Perry, FDR and Gen. Douglas MacArthur came from. Thomas Perry and his wife, Lavina Culbertson lived in the Oil City-Franklin area and McKean, PA.
The son of Sarah and Edmund Perry, Ezra Perry, married the daughter of Thomas or Dorothy Burgess. The two Burgess headstones and the headstone of Ezra represent three of the five oldest burial sites that are marked in the Old Town Cemetery. Ezra’s headstone is an original, the Burgess’ is a replacement stone. The story is that they brought their headstones with them from England, most likely sandstone. They didn’t weather well and were replaced by descendants one hundred years ago.
Ezra’s headstone- www.flickr.com/photos/rushhourphoto/5113110894/
Dorothy Burgess’ headstone- www.flickr.com/photos/rushhourphoto/5162824499/
Thomas Burgess’ headstone- www.flickr.com/photos/rushhourphoto/5162824829/
A link to a video of stills I took in Sandwich, Massachusetts- www.youtube.com/watch?v=hBE2HG2Uhh4&hd=1 The cemetery there is just beautiful- and peaceful.
For more information on the Perry line, see www.familyhistorypages.com/Perry.htm
4. ELIAKIM PERRY (BENJAMIN 3, EZRA 2, EDMUND 1) was born May 9, 1716 in Sandwich, Mass. He married SARAH JOY, daughter of DAVID JOY.
Children of ELIAKIM PERRY and SARAH JOY are:
i. DAVID PERRY, b. August 8, 1741.
ii. SYLVANUS PERRY, b. September 9, 1742.
iii. ABIGAIL PERRY, b. June 3, 1745.
iv. ELIZABETH PERRY, b. May 3, 1747.
v. SETH PERRY, b. June 8, 1750.
vi. ELIAKIM PERRY JR., b. February 22, 1751/52.
vii. EZEKIAL PERRY, b. October 26, 1753.
viii. AZOR PERRY, b. December 12, 1755.
ix. OZIAS PERRY, b. June 20, 1757, Sandwich, Mass; d. May 10, 1831, Cayuga Co., New York.
x. PHILLIP PERRY, b. April 24, 1759.
xi. SARAH PERRY, b. September 12, 1762.
Generation No. 5
5. OZIAS PERRY (ELIAKIM 4, BENJAMIN 3, EZRA 2, EDMUND 1) was born June 20, 1757 in Sandwich, Mass, and died May 10, 1831 in Cayuga Co., New York. He married ESTHER MARVIN, daughter of BENJAMIN MARVIN and MEHITABLE MARVIN. She was born September 8, 1764.
Children of OZIAS PERRY and ESTHER MARVIN are:
i. DIANE PERRY.
ii. OZIAS PERRY
iii. HANNAH PERRY.
iv. BENJAMIN PERRY.
v. ABIGAIL PERRY, b. June 6, 1786.
vi. LUCINDA PERRY, b. August 10, 1787.
vii. MARVIN PERRY, b. January 12, 1789, Tinmouth Twp, Rutland Co., Vermont; d. July 8, 1863, Pinegrove Twp, Venago Co., Pennsylvania.
viii. EDNA PERRY, b. April 22, 1790.
ix. SARAH PARRY, by November 25, 1791.
x. ELIAKIM PERRY, b. November 5, 1792.
xi. ANNA PERRY, b. March 7, 1794.
xii. REUBEN PERRY, b. March 30, 1796.
xiii. ESTHER PERRY, b. 1798.
xiv. CLARA PERRY, b. May 16, 1798.
Generation No. 6
6. MARVIN PERRY (OZIAS 5, ELIAKIM 4, BENJAMIN 3, EZRA 2, EDMUND 1) was born January 12, 1789 in Tinmouth Twp, Rutland Co., Vermont, and died July 8, 1863 n Pinegrove Twp., Venago Co., Penn. He married MARY LAYTON 1817. She was born February 1, 1802 in Somerset Twp., Washington Co., Penn., and died February 8, 1889 in Pinegrove Twp., Venago Co., Pennsylvania.
Children of MARVIN PERRY and MARY LAYTON are:
i. ISABEL PERRY, b. 1830, Venago Co., Pa.
ii. LUCINDA PERRY, b. 1832 Venago Co., Pa.; m. ?STOVER.
iii. BENJAMIN FRANKLIN PERRY, b. July 17, 1834, Fertigs, Veneago Co., Pa; d. November 29, 1912, Muscatine, Iowa.
iv. THOMAS PERRY, b. February 24, 1838, Pinegrove Twp., Venago Co., Pa.; d. 1916 (in the photo above).
v. OZIAS PERRY, b. 1818.
vi. WILLIAM PERRY, b. January 28, 1832, Scrubtrass Twp, Venago Co., Pa.
viii. GEORGE WHITTAKER Perry. January 10, 1824, Venago Co., Pa.; d. September 4, 1885.
Thomas Perry- married Lavina Albina Culbertson (the two in the photo above). Their daughter, Rebecca Perry married Elmer Emery Wise.
The daughter of Rebecca and Elmer was my grandmother Emma Belle Wise who married Elmer LeSuer. Their daughter, Marjorie Eileen LeSuer is my mother, who married Clifford Leslie Rentz..
Fotos por cortesia de José Prieto
1583 Parroquia de Purisima Concepción (Las Navas de la Concepción) Sevilla,Andalucia,España
La Iglesia de la Purísima Concepción de Las Navas de la Concepción se encuentra en todo el centro de la localidad, concretamente en la plaza de España, se trata de su edificio más representativo.
Historia
A diferencia de otros arquitectos como Leonardo de Figueroa, que gozaron de celebridad entre sus contemporáneos y prestigio hasta nuestros días, el caso de Diego Antonio Díaz es singular, pues ha sido un gran desconocido no sólo a niveles populares, sino en la historiografía artística. Y ello a pesar de que su obra se desarrolló durante medio siglo por la Baja Andalucía, ejerciendo los cargos de maestro Mayor de Obras del Arzobispado de Sevilla y del Cabildo de la Catedral. Y a pesar de que fue tan importante como para que el Cabildo de la Catedral de Málaga le llamase para emitir dictamen junto a importantes arquitectos del momento como Vicente Acero y Hurtado Izquierdo, su nombre quedó algo olvidado en las publicaciones artísticas.
Diego Antonio Díaz representa un eslabón en la evolución del barroco sevillano, a caballo entre el arte de gran riqueza ornamental y plantas movidas de Leonardo de Figueroa y el rigor academicista cuyo influjo percibió ya, en el tercer cuarto del siglo XVIII, Pedro de Silva.
La primera noticia profesional que se tiene de él aparece en el Libro de Cuentas de las obras de la Iglesia de la O, de Sevilla, donde se registran los jornales que se le abonaron. En 1705 ya era “maestro mayor de fábricas de esta ciudad” y en 1711 se le encargó la dirección de las obras de la Iglesia del Salvador, uno de los edificios de más prestigio de cuantos se construían en ese momento en esta ciudad. Tras el fallecimiento de José Tirado, el Cabildo sevillano lo eligió para cubrir su maestría mayor, el 24 de octubre de 1714. Así obtiene los cargos de “maestro mayor de obras de la Santa Iglesia (Catedral) y de fábricas de este Arzobispado”.
De su intensa e importante actividad profesional destacamos las siguientes obras: Iglesia Conventual de Santa Rosalía, Iglesia del Divino Salvador, Iglesia de San Antonio Abad y Capilla de Jesús Nazareno de la Hermandad del Silencio, Iglesia de la Purísima Concepción de Las Navas de la Concepción, fachada de la Iglesia de San Miguel de Morón de la Frontera, Ermita de Jesús Nazareno de Lora del Río, Iglesia de San Blas, la Iglesia de San Pedro y la del Convento de las Agustinas Descalzas de Carmona, la Iglesia de Santa María de Écija…
Las Navas se había constituido a principios del siglo XVIII en una entidad suficientemente importante como para que sus vecinos reclamasen su emancipación espiritual, primera necesidad en la época, antesala de la independencia administrativa de la villa de Constantina, que Las Navas alcanzó en 1856.
En el primer cuarto del siglo XVIII, los vecinos de la aldea de Las Navas, apodada antiguamente de “Los Puercos”, solicitaron del Cabildo catedralicio la edificación de una Iglesia en la localidad a causa de la “mucha incomodidad espiritual” que padecían por carecer de templo propio donde recibir los sacramentos y participar de los oficios divinos, teniendo que desplazarse por senderos peligrosos, cruzando montes y profundos arroyos, bien a la villa de Constantina, distante tres leguas, bien al convento de San Antonio de la orden de San Basilio, ubicado a media legua de poblado.
Al margen de la voluntad del vecindario de obtener su libertad espiritual y su administración propia, se conoce el nombre de cuarenta y tres vecinos (dos de ellos eran mujeres) que encabezaron la iniciativa y sus posibilidades económicas: uno ofrece aceite para iluminar el Santísimo Sacramento, otro madera de castaño para la cubierta, el sacristán su trabajo sin salario, el maestro tejero y un calero sus productos, siete vecinos, sus carretas (muchos de ellos serían transportistas de profesión) y otros 32, distintas cantidades de peonadas (entre quince y cuatro días). Todos los contribuyentes ofrecen pagar temporalmente el valor doble de la primicia a la que estaban obligados.
A la vista de esta petición, los eclesiásticos hispalenses enviaron, en 1717, a su Maestro Mayor de obras, Diego Antonio Díaz, para que confirmase la necesidad de construir un oratorio y, en su caso, precisase el emplazamiento, las dimensiones, los materiales necesarios, las obligaciones que pensaban contraer los habitantes de la aldea y presentara un diseño de la planta. Díaz entregó su primer informe el 18 de octubre de ese año, señalando como lugar más apropiado para la elevación del edificio que, a su juicio, debía tener veinticinco varas de largo por nueve de ancho, la plaza ubicada en el centro del pueblo. Tres días después confeccionó una memoria de los materiales que se requerían para comenzar las obras y cómo debían conservarse éstos para obtener el mejor resultado posible.
Estudiados estos informes, se solicitaron otros de diversa índole cuya confección demoró hasta el 1 de julio de 1726. D. Cristóbal Rodríguez Chaparro, cura de Constantina, se hizo cargo de la administración de las rentas. A él dirigió Diego Díaz, el 20 de julio de 1727, una carta excusándose por no poder desplazarse hasta allí para comenzar las obras, amparándose en el encarecimiento que esto supondría para la fábrica y en las múltiples obligaciones que le retenían en Sevilla, detallando también los pasos que los alarifes debían seguir en la cimentación.
El templo se comenzó en 1727 siguiendo sus directrices, encontrándose dos años después, según informe de Silvestre Tirado fechado el 24 de septiembre de 1729, elevado en todo su perímetro hasta una altura de siete varas, es decir casi seis metros. A partir de este momento existe en los archivos consultados una laguna documental que nos ha impedido reconstruir los avatares sufridos en la conclusión del templo. Sabemos que fue bendecido por D. Antonio Nicolás de Ocaña, cura de Constantina, el día de San Matías, 25 de febrero, de 1764, año en el que al parecer se finalizaron las obras, ignorando hasta el presente el por qué de esta demora.
Templo parroquial de la Purísima Concepción, que como su nombre indica tiene como titular a la Purísima Concepción. Su origen data de la segunda mitad del siglo XVIII; presenta planta basilical con una sola nave de cinco tramos, con capillas-hornacinas entre los contrafuertes, crucero y capilla mayor plana.
El cuerpo de la nave y la capilla mayor se cubren con bóvedas de cañón con arcos fajones y lunetos y el crucero con bóveda semiesférica.
El coro se situaba en alto a los pies de la nave, ocupando el primer tramo, no existe en la actualidad.
La Iglesia presenta similitud con otras obras de Díaz. Su planta, de una sola nave de cinco tramos cubiertos de bóveda de cañón con lunetos y capillas-hornacinas laterales, con crucero no acusado al exterior y cerrado por una media naranja, evoca lo realizado en la Capilla de Jesús Nazareno de la sevillana hermandad del Silencio, donde, al igual que aquí, los últimos tramos fueron añadidos en épocas posteriores. En el proyecto primitivo diseñado por él, la nave debía constar de tres tramos, en el último de los cuales se situarían la portada principal y la torre que hoy en día se halla absorbida por el cuerpo de la Iglesia debido a la ampliación de la misma llevada a cabo, en 1785, por Antonio Matías de Figueroa, quien añadió, posiblemente, dos tramos a los pies, en el último de los cuales se sitúa el coro, además de cerrar el crucero y el presbiterio que todavía se hallaban en alberca.
Exterior
La portada de los pies, labrada en ladrillo limpio y producto de la reforma citada, está formada por un vano adintelado con remates laterales y la del muro derecho, del mismo material, por un arco de medio punto flanqueado por pilastras dóricas sobre las que descansa un sencillo entablamento. La torre, de estructura sencilla, se sitúa a la izquierda de la portada lateral, presentando dos cuerpos. El bajo muestra un rehundimiento rectangular en su frente y dentro del mismo se sitúan dos pequeños vanos que iluminan la escalera de acceso al cuerpo superior. Este rehundimiento, hoy encalado, recuerda la solución empleada por Díaz en las torres de las parroquiales de Gines y Umbrete, donde ese espacio se destinó a la ubicación de balconajes. El campanario propiamente dicho, está recorrido por sobrias pilastras dóricas que enmarcan vanos de medio punto donde se sitúan las campanas, todo ello rematado por el típico antepecho coronado por un chapitel ochavado forrado de azulejos. A un lado de la torre se colocó hace algunos años un manchón que sirve de alojamiento a un reloj.
La portada de los pies, labrada en ladrillo visto, está formada por un vano adintelado con remates laterales; y la del muro derecho, del mismo material, por un arco de medio punto entre pilastras toscanas rematado por un entablamento.
La torre se sitúa a la izquierda de la portada lateral. Consta de dos cuerpos y un remate piramidal, y es de la misma época que el resto de la edificación. Con veinte metros de altura y restaurada en 1953, tiene recubierta la aguja con azulejos de reflejos metálicos. Posee cuatro campanas: la “Jesús, María y José”, fundida en 1620 y una altura de 0,60 metros, la “San Antonio”, fundida en 1800 y 0,75 metros, incluido el cabezal, la “San José”, fundida en 1890 y 0,55 y la “Santa Matilde”, fundida en 1920 con 0,60 metros de altura.
Interior
En el interior del templo, a pesar de los añadidos posteriores - el zócalo de azulejos, la solería,...-, se observa la sobria distribución de volúmenes constructivos tan característica de Diego Antonio Díaz. La nave, flanqueada por capillas laterales, aparece compartimentada mediante pilastras dóricas de fuste liso sobre las que descansa un entablamento de pronunciada cornisa.
En el templo, los elementos arquitectónicos- pilastras y arcos perpiaños- carecen de esa ornamentación a base de molduras que, sin duda, constituían un rasgo peculiar del quehacer del Maestro Mayor diocesano que, en este caso, ha sido suprimido acaso por tratarse del oratorio de una aldea humilde, con escasos recursos económicos, acaso por estar realizado por operarios inexpertos.
Retablo del Altar Mayor.
Retablo del Altar Mayor.
El Retablo Mayor es de tipo neogótico de 1953, figurando en él imágenes también modernas, restaurado y dorado en el 2003.
En el muro izquierdo del crucero aparece un retablo moderno con imagen de candelero, actual, de la Dolorosa, y un púlpito de hierro de forja artística, con tornavoz y baranda de madera policromada del tercer tercio del siglo XVIII, original del templo.
En la primera capilla-hornacina del muro se sitúa un grupo escultórico de Santa Ana y la Virgen Niña de la mano, del último tercio del siglo XVII, de la primitiva “Iglesia de los Monjes Basilios”, de madera estofada y policromada, de buena ejecución. La imagen de Santa Ana se diferencia mucho de las que hizo Juan Martínez Montañés, pues el escultor presenta una Santa Ana de rostro joven, y quizás puede proceder del taller de Juan de Mesa, su discípulo. También encontramos de los Monjes Basilios una escultura del Crucificado, de tamaño mediano, del tercer tercio del siglo XVI.
En la capilla de los pies hay una Pila Bautismal de piedra granítica del siglo XV, original de la “Iglesia de los Monjes Basilios”.
En el muro derecho del crucero se encuentra el retablo con hornacina entre columnas corintias y frontón curvo de hacia 1970. En el banco figura una pequeña escultura del Crucificado del siglo XVIII. A continuación se dispone de un retablo de azulejos modernos, con escultura de candelero de Cristo con la Cruz a cuestas, de moderna realización.
En la sacristía se conserva un armario con puertas talladas, del segundo tercio del siglo XVIII, y una pequeña pintura sobre tabla de la Virgen de Belén de la segunda mitad de dicho siglo. Entre los objetos de orfebrería destacan un cáliz de plata repujada fechado en 1745; un copón de plata dorada con la base decorada con estrías helicoidales, de la segunda mitad del siglo XVIII con punzones de Córdoba y del platero Cárdenas, y un ostensorio de plata dorada decorado con medallones en forma de rocalla con relieves de motivos eucarísticos, del tercer cuarto del siglo XVIII, con el punzón del platero Sánchez.
21 representantes estudiantiles y 17 de los profesores a los Comités Curriculares, así como el representante estudiantil y de los profesores al Consejo Directivo, con sus respectivos suplentes, recibieron dicha acreditación de manos de la rectora de Utadeo, Cecilia María Vélez White, la vicerrectora académica, Margarita Peña, y la vicerrectora administrativa, Nohemy Arias.
Fotografía Laura Vega - Oficina de Comunicación
Más información aquí goo.gl/cfnma2
Adobe's Lightroom 2.0, which launched today represents a major breakthrough in the field of digital photo processing. I've only just begun to play with the software today, but it is clear that Lightroom 2.0 will be my new imaging software of choice. Prior to using Lightroom 2.0 I did my photo processing using Adobe's Bridge and Photoshop. Lightroom represents a significant leap forward in the power of processing digital photographs. I thought I'd write up a post documenting my 10 new favorite processing tools that Lightroom 2.0 brings to the table.
1. Selective area processing of RAW files. When using Adobe's Camera RAW to process in the past, an image was an all or none, take it or leave it, proposition. Yes, you could increase the exposure and contrast on a shot, but you had to increase the exposure and contrast for *the entire* shot. Frequently when processing photos you want more control than that. For example, sometimes you might have a shot perfectly exposed except for the eyes in a portrait which are too dark. With Lightroom 2.0 you can now control all of the basic RAW tools (exposure, brightness, contrast, saturation, clarity, sharpening and custom toning) using brushes or masks to highlight specific areas of a photo.
2. Vignette Cropped Photos. I'm a vignette junkie. Vignette is the area around the edge of your photos that is sometimes dark, sometimes light. A lot of vignetting occurs naturally in my Canon 5D -- especially with the large sensor. Sometimes I like to process a photo perfectly and take this vignette out of my photograph. Other times though I like to add a varying amount of vignetting in or even reverse it out creating a more over exposed edge to my photograph. In the past Adobe Camera RAW could control vignette, but only for the image loaded. If you wanted to crop that image there was no way to control vignette for that specific crop. Now with Lightroom 2.0 you can apply a crop to an image and then adjust your vignetting control after the fact on the new crop.
There is also a new "roundness" slider for vignetting control which enables the ability to give your photos a more rough vignette look vs. a more even or controlled vignette alignment.
3. Keyword recommendations. One of the ways to make your photos more discoverable on sites like Flickr and Zooomr is to add tags or keywords to your photos. You might tag a photo of the Golden Gate Bridge for instance "Golden Gate Bridge" and "bridge" and "San Francisco" and "night" and "California" etc. But frequently there are tags that you don't immediately think of. For instance, if you tag a photo of your dog "dog," maybe the tag "black labrador" would be another good tag. And maybe another one might just be "black lab." With Lightroom 2.0 Lightroom analyzes other tags that you have used with your photos to offer up suggested or recommended tags that you might use. Especially if you hope to offer your photos for sale through stock photography agencies, these descriptive keywords are very important meta data. By learning about your past tags, Lightroom is smarter and suggests tags that you might want to add to your photos as you tag and process them.
4. Better Photo Sharpening Tools. One of the nice things in Lightroom 2.0 is that you have much better tools for sharpening your photos than you did previously. I especially like the way that as you sharpen your photos (or parts of your photos) you can see a fine detail view of the sharpening work. This helps ensure that you don't overdo your sharpening for high resolution views.
5. Healing Brush tools. One of the things that I hated about my old processing system was that I could not use a healing brush inside of Adobe Camera RAW. A healing brush is used to take out little imperfections in a photo. Large sensor digital cameras are notorious for getting dust spots on their sensors. You see these spots most visibly in your photographers when you are shooting at small (high number) aperture settings. These annoying little dust spots have ruined many a great photo. In the past I would need to manually bring these photos into Photoshop to use the healing brush to clean up these spots. Now this can be done within Lightroom itself. The healing brush approximates an area of the photo immediately near the spot that you'd like to heal and blends that area into the spot. This also works great when you have that perfect photograph of your kid with just a dab of peanut butter on his face.
6. Enhanced Printing Tools. I love how Lightroom 2.0 handles printing your photos. With Lightroom 2.0 you can easily arrange multiple photos on a page with preset sizes. You can adjust the layout of the page into multiple columns or custom sizes for different photos. By providing enhanced layout options for printing, Lightroom allows you to use your printable photo paper space more intelligently and makes printing your photos at home easier than ever. I've got some large printing projects that I'm working on for a couple of collage pieces I've been meaning to do for a while and this tool will be very helpful when it comes time to print out a bunch of custom sized prints.
7. Support for custom camera color profiles and improved color photo processing from Adobe. One of the complaints that people have made about Adobe color processing in the past has to do with how it handles some colors. Specifically reds in photographs processed on Adobe's software have sometimes lacked the big vibrancy that reds should have coming out a tad more orangish in some cases than reds. With Lightroom 2.0 Adobe has improved both their own color processing technology, but they have also added support for specific camera profiles. When you look at a photo on your camera's LCD you are actually looking at a JPG interpretation of the photo that you just took. Frequently people will tell me that the colors that they see on their camera LCD are different than what they get when they take the photo home and try to process it.
With Lightroom 2.0 you can use either Adobe's new and improved color profiling system (which does a much better job at interpreting vivid reds) or you can tell Adobe to bypass their own color profiling system and use the actual color profiling system that is inside your camera.
8. Smart Collections. Smart collections (like SmartSets on Zooomr and the SmartSetr application for Flickr) make sense. Frequently you will find yourself wanting to organize batches of your photos for various reasons. Lets say you want to see all photos of your daughter taken this year, or all photos of your daughter tagged with birthday, or a photo of all of your neon photographs taken in 2008. Whatever the case may be, you can build Smart Collections with Lightroom 2.0 to easily analyze and arrange your photos and allow you to better find and sort your work.
9. Smarter cropping and angling tools that show you a rotated view as you work. In the previous version of Bridge/Camera RAW that I used to process my photos, when you cropped an image and then rotated the crop you had to kind of turn your head sideways to visualize what you get. Now Lightroom 2.0 rotates the underlying image showing you a straightened version of what your new rotated and cropped photo will look like directly as you do this work.
10. Metadata SDK for custom metadata. The Metadata SDK that is being released with Lightroom is interesting. I'm not sure on any actual application for the SDK today but it is promising that by opening up this SDK to developers that there may be fantastic ways that we can use the metadata on our photographs in the future.
One of the things personally that I'd like to see develop over time would be a way that the social metadata that is added to your photographs can be reapplied to local copies. One of the nice things about online photo communities is that they encourage engagement with your photos. Many people on Flickr, for instance, have added additional tags and keywords to my photos online. At present there is no easy way to apply these added social tags to my existing photos. I'm hopeful that with Adobe's new Metadata SDK that we might see some of these types of applications develop in the future.
I also think one of the first metadata enhancements that this SDK might make available would be some sort of geotagging add on.
There are lots of other enhancements to Lightroom 2.0 that I did not mention in this article. Probably the two biggest are that Lightroom can now support dual monitors and it can run natively in 64 bit on both Macs and PCs for added performance.
Adobe Lightroom retails for $299. Existing Lightroom users can upgrade for $99. You can download a free 30 day trial version of Lightroom 2.0 here.
Historic Richmond Town, Staten Island
Landmarks Preservation Commission June 26, 2001; Designation List 328 LP-2093
This two-and-a-half story frame house with wood-clapboard siding is one of the most impressive mid-nineteenth-century houses in Richmondtown, the eighteenth- and nineteenth-century governmental center of Staten Island. Built in 1869 for Webley Edwards, a prosperous businessman and government official, the house is located at the intersection of Richmond Road and Court Place on one of the most prominent sites in the village.
The house is a fine and well-preserved example of a popular mid-nineteenth-century rural house type which is well represented in many parts of the country but is now very unusual in New York City. A later example of this house type, the symmetrically-planned center-hall house with a side-gabled roof fronted by a prominent center cross gable, it is embellished with handsome Italianate and Second Empire detailing.
Notable features include the heavy molded door and window surrounds, bracketed cornices and bay widows on the side elevations. Edwards became wealthy developing property in Port Richmond inherited by his wife Deborah Mersereau Edwards. He held various county offices in the 1850s and 1860s and was serving as county treasurer in 1869 when this house was erected.
After Edwards died in 1870, the house passed to his widow and later to his daughters Lucretia Edwards and Ella Barton. Ella, her husband Willis Barton, a banker and broker who was also a descendant of a politically prominent Staten Island family, and their five children moved to the house in 1892. The Bartons were leading citizens of Richmondtown who contributed to its history and development.
In 1921 the house was acquired by grocer Nicola Aquilino; family members occupied it until 1966. The house has been a part of Historic Richmond Town since the 1950s and underwent exterior restoration in the 1970s.
The Development of Richmondtown
Richmond County, encompassing all of Staten Island, was established in 1683 as one of the twelve original counties of New York, with Stony Brook, now Egbertville, its official county seat. Previously, the residents of Staten Island had relied on the Court of Sessions at Gravesend, Brooklyn, for the administration of laws, while the center of political activity on the island was at Oude Dorp, near the present South Beach.
In 1711, the county government built a prison in the tiny village of Coccles Town. This was considered a superior place for conducting governmental business due to its location at the head of the navigable Fresh Kills and at the junction of several important roads. In 1729, Coccles Town was officially chosen to be the new county seat and was renamed Richmondtown. A new county courthouse was constructed there that year.
British troops occupied Richmondtown during the Revolutionary War, establishing quarters in many of the village's buildings, burning the court house and other buildings upon their departure. Little development occurred during the next thirty years; however, a second county courthouse was constructed on Arthur Kill Road in 1793.
Richmondtown began to grow around 1800 and was incorporated as a village within the Town of Southfield in 1823. By 1828 the first County Clerk's and Surrogate's Offices were constructed to the east of the jail. The famous hotel, Richmond County Hall, was built around 1829 and soon became a popular gathering place for political and social events. The town's first public school opened about 1830.
Sensing the development potential of the town, Henry I. Seaman, a New York merchant who was secretary of the company that operated the plank road (later Richmond Avenue), purchased ninety acres of farmland to the east of the town center in 1836. Seaman had the land laid out into two new streets, Center Street and Court Place, and 25' by 100' building lots.
A large plot on Center Street opposite Court Place was set aside for the construction of a new courthouse (the Third County Courthouse, now the Historic Richmond Town Visitors Center, built 1837, a designated New York City Landmark). Seaman also built several houses, known as "Seaman Cottages," and sold two corner lots to Austin Burke and Stephen D. Stephens, who constructed their own residences.
Due to the financial panic of 1837, Seaman was forced to sell his Richmondtown property, which eventually passed to Harmon Cropsey in 1854. During the 1840s, the village continued to expand, in part because of the construction of a new stone bridge over Fresh Kills Creek at the junction of Richmond Road and Arthur Kills Road. The Washington Hotel was also built around 1840. Around 1845, Isaac Marsh began construction of a carriage manufactory opposite the hotel.
The County Clerk's and Surrogate's Office (now the Historical Museum, a designated New York City Landmark) and a jail were constructed in 1848 and 1860, respectively. St. Patrick's Church (RC) was erected between 1860 and 1862 and St. Andrew's Church (Episcopal) took its present form following a fire in 1872 (both churches are designated New York City Landmarks).
By the mid-nineteenth century, Richmondtown's position as the political and social center of the island was secure. The Stephens-Prier House, the Parsonage (1855) (both designated New York City Landmarks) and the Edwards-Barton House (1869) are the most significant residential survivors of this expansive and prosperous period of the village's development.
The Edwards and Barton Families and the Early History of the Edwards-Barton House
Webley J. Edwards, the son of Webley Edwards and Mary Edwards, was born in 1816 in New Jersey. In 1835, his brother, John Simpson Edwards, purchased the Guyon store at 3752 Richmond Road (built c.1819).
The building was remodeled and enlarged for use as a residence by the Edwards family. When Webley reached the age of twenty-one in 1837, he purchased a half interest in the house from his brother and sister-in-law.
In April 1840 John S. Edwards and his wife sold their remaining interest in the former Guyon store to Webley Edwards. In 1844 Webley married Deborah Ann Britton Mersereau (1824-88).
They had two daughters, Ella, born in August 1849, and Lucretia, bom in September 1852. During this period Webley was earning his living as a tailor and their household also included an apprentice as well as Webley's sister Sarah.
In 1847, Deborah's father, Joshua Mersereau, died leaving his estate to his six surviving children. In 1848 the heirs entered into a partition agreement to divide their father's farm in Port Richmond." Over the next few years Webley Edwards and his brother John purchased portions of the Mersereau farm from the other heirs.
For about twenty-years the Edwards slowly sold off parcels from this property which was mapped into city lots. Webley Edwards also invested in house lots on Fort Hill and in the public inn at Vanderbilt's Landing, which was leased to innkeeper Samuel L. Lewis. Edwards became wealthy as a result of his dealings in real estate.
Webley Edwards also played a prominent role in Richmond County civic affairs. He served as county treasurer in 1854 and from 1868 to 1870, justice of the peace during the mid-1860s, and county sealer of weights and measures in 1867.
He was a vestryman at St. Andrew's Church from 1847 to 1858 and from 1866 to 1870. Around 1860 he seems to have given up tailoring, listing his profession as "gentleman" in the federal census of 1860 and as county treasurer in 1870.
By 1868, his income was large enough for him to begin planning a new house. In April he purchased the vacant lot at the southwest corner of Richmond Road and Court Place which was combined with a parcel of land to the east of the Guyon Store lot that he had purchased in 1855 to create a quarter-acre site.
In April 1869, he entered into contracts for the new house with local carpenter-builders Isaac Bedell and Randolph T. Hill.17 Construction was completed by mid-December 1869.
By the summer of 1870, when the census was taken, Webley Edwards was occupying the house with his family and Katie Kanna, an Irish-bom domestic. He died in August 1870 at the age of fifty-eight. His property passed to his widow and daughters who continued to live in the new house. Deborah Edwards continued her husband's practice of buying and selling real estate aided by her brother Joshua Mersereau, who was appointed administrator of Webley Edwards's estate.
In January 1876, Deborah Edwards sold a small portion of her house lot adjoining the County Clerk's and Surrogate's Office to Henry B. Metcalfe (187-81), a prominent attorney and judge who was then serving as a congressman, representing Richmond County.
Metcalfe also served as manager, secretary, and director of the Richmond County Mutual Insurance Company, which built a small frame office building on the site (demolished)
In 1878, Ella Edwards married Willis Barton (1844-?). He had grown up in the old stone farmhouse (the Lakeman-Cortelyou-Taylor House) opposite the Moravian Cemetery on Richmond Road and had attended Eastman Business College in Poughkeepsie.
Willis Barton was descended from a prominent Staten Island family. His grandfather, Col. Samuel Barton (1785-1858), had been a congressman (1834-37) and agent for the Vanderbilt Steamship Lines. His father, Edward Perine Barton (1818-40), was a farmer and local politician, who served as the county treasurer in the 1860s and later headed the local police department.
The young couple moved to a house on Harrison Street in Stapleton but Deborah Edwards and her daughter Lucretia continued to reside in this house until Deborah's death in 1888. Deborah Edwards left her property to her daughters. Lucretia Edwards probably continued to reside in the house in the late 1880s and early 1890s and after 1892 Willis and Ella Barton and their five children also occupied the house.
During this period Willis Barton was employed at various Wall Street brokerage houses and banks, working his way up from bookkeeper to commercial underwriter, broker, and banker. He also served for many years as a trustee for the Southfield and Northfield District Schools.
While he lived in the house, the Barton's eldest son, Samuel E. Barton, was employed as a clerk at the banking firm of J.W. Davis & Company and later at the Leather Manufacturers National Bank in Manhattan. He married Helen C. Cole in 1907 and moved to Summit Avenue in New Dorp. Willis and Ella Barton's son, Willis E. Barton, was employed as a railroad clerk in 1900 and later worked as an accountant.
Their son Leroy (Roy) was an electrical contractor and served for years as chief of the Richmondtown Volunteer Fire Company. Their son Frank was listed as a clerk in the census of 1910. He entered the army and served as a courier for General Pershing during World War I and later owned a gift shop. Their daughter Mary does not seem to have been employed while she was living in the house.
She later married George R. Coleman. The Bartons and Lucretia Edwards continued to occupy this house until 1914. Lucretia Edwards died in 1947.
The Design of the Edwards-Barton House
Located at the comer of Richmond Road, the main highway through town, and Court Place, the approach road to the County Courthouse, with frontage on Center Street, the most desirable residential street in the village, the Edwards-Barton House occupies one of the most prominent sites in Richmondtown.
Recalling Staten Island's rural past, the Edwards-Barton House is a fine and well-preserved example of a common mid-nineteenth-century rural house type, the symmetrically-planned center-hall house with a side-gabled roof fronted by a prominent center cross gable.
This type is well represented in many parts of the country but is now very unusual in New York City. During the mid-nineteenth century American rural architecture underwent a revolution as nationally-circulated journals and architectural handbooks rapidly began to introduce new ideas about planning and design to a broad public that displaced traditional building forms that had evolved slowly combining Old World folk traditions, high-style Georgian design, and Anglo-American building practice.
Much of the credit for this change belongs Andrew Jackson Downing, who through a series of essays in The Horticulturist, a "journal of rural art and rural taste,"which he edited, and in his influential architectural handbooks, including A Treatise on the Theory and Practice of Landscape Gardening (1841), Cottage Residences (1842), and The Architecture of Country Houses (1850), introduced English ideas on rural landscape design and architecture to the American public.
Downing published numerous designs for cottages, farmhouses, and villas, featuring the work of Alexander Jackson Davis, John Notman, Gervase Wheeler, Richard Upjohn, and Calvert Vaux (the last became his business partner).
These designs were largely in the Gothic Revival and Italianate styles since Downing considered the picturesque qualities of these styles particularly suitable for country settings. In addition he outlined several elements that he believed were important in a country home regardless of its style - it should "spread out and extend itself on the ground," [its details] should be simple and bold, its ornaments... rustic, strong, or picturesque, [rather] than delicate or highly finished."
It was important he said that "the roof is boldly shown, and rendered ornamental, the windows suitably introduced and enriched, and the comfort and pleasure of climate and home understood."
Chimney stacks were particularly important because they were expressive of "human habitation and domestic life ... in a northern climate" and "verandas, piazzas, bay windows, and balconies were also valuable as they were chiefly used for domestic buildings and therefore conveyed "domestic habitation."
One of the most popular of the designs published by Downing was the design for An Ornamental Farm House (Design IV) in Cottage Residences. It represents a symmetrically-planned two-and-one-half-story stone farmhouse with a central entrance set off by a broad veranda and capped by a pitched side-gabled roof with a center cross gable that is trimmed with vergeboards and a decorative pinnacle.
This design served as inspiration to numerous architects, builders, and carpenters throughout the country since the overall form of the house remained relatively simple and traditional while the gable provided a concession to fashion and served as a focus for modish ornament. As architectural historian Michael Southern explained in his study of vernacular housing:
Once the center gable was accepted in the local building vocabulary, it took a life of its own unrelated to the Gothic or Tuscan models. The gables vary widely in proportion and steepness of pitch, and often were given all sorts of machine-made, sawn, turned and shingle ornament as the nineteenth century wore on.
Variations on the triple gable farmhouse proliferated in the decade following the Civil War and remained popular until the end of the nineteenth century, reinforced by their continued appearance in architectural pattern books where the houses are often enriched with Second Empire or Queen Anne detailing.
The Edwards-Barton House, an excellent example of this building type, reveals its close relation to Downing's design in its use of paired windows and paired chimneys flanking the central gable, and in the framing of its front veranda. Built for a prosperous businessman and government official, the house is constructed of wood and is somewhat larger and more elaborate than Downing's original prototype, incorporating bay windows on the side facades and a large kitchen wing at the rear.
It reflects the taste of the post-Civil War period, in the high story heights, vertical proportions, large windows, and in its incorporation of Italianate and Second Empire style detailing, notably the segmental-headed windows and French doors at the parlor level.
Noteworthy features include the heavy molded door and window suiTounds and the elaborate turned brackets which decorate the cornices of the bay widows and the overhanging eaves of the gabled roof. The center-gabled house type seems to have been relatively unusual in New York City.
However, the Gothic Revival cottage that is now the Garibaldi-Meucci Museum at 420 Tompkins Avenue (built c. 1845, a designated New York City Landmark) is an early example. There are also at least two later examples in the neighborhood of the Edwards-Barton House, one on Richmond Road in Richmondtown and one on Rockland Avenue in Egbertville; both frame houses that have been reclad with non-historic materials and stripped of ornament.
In contrast, the handsomely proportioned Edwards-Barton House remains in good condition and retains its original form and most of its decorative detailing. As the farmhouses and village residences that once proliferated in New York City have fallen victim to developmental pressures it has become an increasingly rare reminder of the city's rural past.
Subsequent History
After Staten Island became a borough of Greater New York in 1898, governmental activity on the island began to shift to St. George on the north shore and Richmondtown's importance as the island's governmental center started to decline. Its residential growth, however, continued.
By 1907, a trolley line ran along Richmond Road and a residential community radiated from the core of the town. By 1919, the last county offices located in Richmondtown were transferred to St. George, and the old county buildings were abandoned.
In the early 1930s, the Staten Island Historical Society, which had been founded in 1856, persuaded the city to fund the rehabilitation of the vacant County Clerk's Office and the County Court House for use as the society's library and historical museum. In 1939, the Society turned its attention to the acquisition and restoration of the Voorlezer's House, built c.1695, the oldest extant elementary school house in the United States.
In the following decades, the Historical Society purchased other historic buildings and land in the area and established Richmond Town Restoration as a living museum of Staten Island and metropolitan history. The Richmond Town Restoration became a joint endeavor between the Staten Island Historical Society and the City of New York in the 1950s. Subsequently, other historic properties in the area were acquired and restored.
A number of threatened historic buildings from other parts of the island were moved to the Restoration's property and also restored. The greater Richmondtown area continued to develop as a residential community in the decades following World War II. The 1964 opening of the Verrazano Narrows Bridge, and the boom years of the 1980s and late 1990s has further encouraged development.
It is not known when Willis and Ella Barton died but their half of the Edwards-Barton House had passed to their children by 1921 when the house was sold to Nicola Aquilino, an Italian-born grocer who had previously resided in Manhattan.
According to the 1925 New York State census, the Nicola and Antoinetta Aquilino occupied the former Edwards-Barton House with their three children, leasing a portion of the house to another family headed by John Dunn, a shoe salesman. Around 1925, Nicola erected a one-story commercial building at the corner of Court Place and Richmond Road where he ran a grocery store and delicatessen.
In 1931 he divided the building in two, sub-leasing the grocery and opening a billiard parlor/restaurant-tavern in the other half. Around 1937 the Aquilinos' son John took over the commercial building where he operated as a pizzeria and restaurant. Nicola Aquilino died in 1949 and the house passed to Antoinetta who continued to reside in one of the two apartments. In the 1950s this property was acquired by the City as part of the condemnation actions that created Historic Richmond Town.
The Aquilino family continued to operate the restaurant and a family member continued to occupy an apartment in the house until 1965/66 when the occupants were evicted. The restaurant was torn down in May 1966.
The exterior of the house was restored by Historic Richmond Town between 1971 and 1974. At that time a one-story late-nineteenth-early-twentieth-century enclosed porch between the east arm and the rear wing and a two-story c. 1911 bathroom addition on the west side of the rear wing were removed. The front porch columns and balustrade which had been replaced prior to 1925 were reconstructed based on a c. 1900 photograph of the house.
The rear porch was added and doors and window openings were created where the wings had been removed. An early twentieth-century garage on the western edge of the site was demolished between 1979 and 1981. Several small structures — sheds, privies, and perhaps a cistern which appear on early twentieth-century atlases were demolished prior Historic Richmond Town's taking control of the property.
The present privy located to the southeast of the house dates from the mid-nineteenth century but was moved to this site in the late twentieth century from the original Crocheron House site in Greenridge.35 The Edward-Barton House is currently being used as a storage building by the Staten Island Historical Society.
Description
The Edward-Barton House occupies an irregular through-the-block comer site (former Block 4443, Lot 8) which has frontages on Richmond Road, Court Place, and Center Street and ells around the Historical Museum (originally the Richmond County Clerks and Surrogate's Office) and former Richmond County Mutual Insurance Company Office sites. (Only the foundations of the insurance company building survive.)
The ground level slopes upward from Richmond Road to Center Street and has been terraced behind fieldstone retaining walls along Richmond Road and on the west side of Former Lot 8. The low wall along Richmond Road was rebuilt in 2000. Set back slightly from the wall along Richmond Road and extending along Court Place is a non-historic wood picket fence which is modeled after the fence in a c. 1900 photo of the house.
Square wood posts with molded caps flank the low non-historic concrete stair on Richmond Road. The path that led from the steps to the porch has been removed. The privy to the southwest of the house dates from the mid-nineteenth century but was moved to this site in the 1990s.
Restored between 1971 and 1974, the Edwards-Barton House is a gable-roofed mid-nineteenth-century clapboard residence incorporating Italianate and Second Empire elements. It has a modified T-plan with the rear wing projecting from the western part of main building.
The two-and-one-half-story front portion of the house is about thirty-seven feet wide and twenty-seven feet deep and has a side-gabled roof with a centered front gable set off by paired brick chimneys. The two-story rear wing is about seventeen feet deep and fourteen feet wide and is capped by a gable roof with a brick chimney near the south wall.
The building rests on a stone foundation and has a low brick basement pierced by horizontal windows containing historic two-light wood casement windows. The walls are clad with lapped-clapboard pine siding. The window and door openings are framed by molded wood surrounds and angled bays project from the sides of the main block. The spandrel panels beneath the bays were originally decorated with raised moldings to create a paneled motif.
They may survive beneath the present clapboard siding. Most of the windows have historic wood sashes but the house's original louvered shutters have been removed. The front veranda dates from the 1970s but its design is based on a c. 1900 photograph. During the 1970s two additions were removed from the rear of the building: an one-story enclosed porch to the east of the rear wing and a two-story bathroom wing to the west side of the rear wing.
Although doors had been cut through to connect the additions to the main house the old clapboard siding and windows remained. The gabled roofs have deep overhanging eaves which are set off by wide friezes decorated with curvilinear brackets. The roofs are covered with fish-scale wood shingles which were installed in 1989. The porches and bay windows have lead-coated copper roofs.
The Main Block
The house's north facade facing Richmond Road has a symmetrical design with three bays of paired windows. The first-story [reproduction] porch has square posts with molded caps, turned balusters, molded railings, ornamental bracing, curved brackets, and a flat overhanging roof with a molded cornice. The central entrance is set off by a heavy molded Second Empire arched surround which contains original paneled wood doors and an original wood framed elliptical arched glass transom resting on a molded wood transom bar.
Flanking the entrance are molded window surrrounds with paired floor-length segmental arched openings and bracketed cornices. The windows retain their original wood two-light French doors and segmental arched transoms. At the second story the paired segmental-arched windows also have molded surrounds with bracketed cornices. The windows retain their original one-over-one wood sash.
The attic cross gable is lit by paired round arched windows framed by a molded surround with a decorative drip molding. The windows have their original one-over-one wood sashes with arched top lights.
The east side of the main block has a symmetrical design with a polygonal wood bay projecting from the center of the first story. The bay rests on a brick foundation and is faced with clapboard at its base. Its upper part is lit by four tall segmental arched windows which retain their original one-over-one wood sashes. The bay is capped by a tall frieze enriched with vertical brackets and a projecting cornice.
At the second story the segmental arched window openings have molded surrounds that are capped with bracketed cornices. The window openings have historic two-over-two wood sash. The double window at the center of the attic gable matches the window on the front gable. It has one-over-one wood sash.
The west wall of the main block has single segmental arched window openings with bracketed surrounds at the first and second story near the north comer of the facade and a two story angled bay near the south comer of its facade. The single bays contain historic two-over-two wood sashes.
The bay rests on a brick base, has clapboard siding on the spandrels beneath the windows and molded wood surrounds for the windows which are capped with bracketed cornices at both the first and second story. There are three narrow segmental-arched window openings per story containing historic one-over-one wood sash windows.
The attic gable is articulated by a double round arched window framed by a molded surround which matches the windows on the front and east gables. The windows retain historic one-over-one wood sashes with arched top lights.
To the east of the rear wing, the south wall of the main block is articulated into a single bay and a eastern double bay. The facade is approached by a non-historic wood veranda, installed in the 1970s, which employs the same elements as the front porch. The dimensions of this porch are based on the remains of old footings and "ghosts" on the clapboards from the original back porch which were discovered when the addition was removed. The narrow entrance at the center of the facade contains a non-historic paneled wood door.
The paired windows at the first story on the east side of the facade match the windows on the front of the building and contain French doors topped by transoms. At the second story, the single segmental-arched window near the center of the facade has a molded surround with a bracketed cornice and contains historic two-over-two wood sashes. The east bay has paired segmental windows which match the second story windows on the north facade. They retain historic one-over-one wood sashes.
To the west of the rear wing, the narrow section of the south wall is articulated by a single line of segmental arch windows with molded surrounds and two-over-two wood sashes. The wood hatch sheltering a basement entrance at the base of the wall is non-historic.
The Rear Wing The east wall of the rear wing has centrally placed paired segmental windows in molded surrounds with bracketed cornices at both the first and second story.
The south (rear) wall of the rear wing is unarticulated save for a round arch blind window with a molded surround near the apex of the gable. Around 1974 a small window at the east comer of the first story that was thought to be the result of an alteration was sealed and covered with replacement clapboard siding. The louvered shutter covering the blind attic was installed.
In 1975 the small horizontal window at the west comer of the basement was restored.
The west wall of the rear wing was largely concealed by a two-story bathroom addition prior to the 1970s restoration. At the south comer of the facade the historic clapboards and windows remained visible.
The segmental arched second-story window retained its original appearance but the first story window had a later trabeated surround. In the 1970s the first story south window was modified to match the second story window and a matching second story window was created at the north comer of the facade. A doorway and small open porch was created at the center of the first story. The specifications for the house (donated to the Staten Island Historical Society subsequent to the restoration) indicate that this porch would have originally been enclosed.
- From the 2001 NYCLPC Landmark Designation Report
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
Norton Simon Museum
The Ragpicker represents one of the practitioners of a now-obsolete profession that involved sifting through the detritus of daily life—not only rags, which were sold to paper manufacturers—but also kitchen scraps, soap and other castoffs that were left out for trash collectors. Sorting garbage might sound like work for the truly destitute, but these scavengers were regulated, semiprofessional recyclers of city waste, and they were seen as a discrete social type, one that was free from the restrictions and inhibitions of a traditional bourgeois lifestyle.
Manet, who was experiencing his own sense of alienation and rejection from established art circles, may have identified with his embattled subject. Both artist and ragpicker could be seen as bohemians who operated on the margins and earned a living by making use of the stuff of everyday life. The small still-life element in the lower foreground of this painting, a pile of opened oyster shells, coupled with a broken champagne bottle and lemon peels, may symbolize this shared creative act.
#36 - Represent the title of a song in your image (I Wonder by Bobby Bazini) - in 112 pictures in 2012 Group
Oh sometimes
I wonder
Will you be my shoulder?
If I cry, would you comfort me … yeah
Will you love me forever?
And will you take me like no other?
Cause no I can’t say
What’s in your heart, Yeah!
And I wonder Baby
Will you stay with me?
Yes I wonder now
What we used to be
Cause I wonder
Will you always love me, Yeah
Chanson/ Song : I Wonder by Bobby Bazini
Ma version préférée est la suivante diffusée aux Perles du Net :
My favourite version is this one live at Les Perles du Net :
www.youtube.com/watch?v=oX0se-iWYA8
Je suis émue chaque fois que je l'entends.
I get choked up every time I hear it.
Je vous remercie chaleureusement de vos commentaires.
I thank you for your kind comments.
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?
~*Photography Originally Taken By: www.CrossTrips.Com Under God*~
The flag of the United States of America consists of 13 equal horizontal stripes of red (top and bottom) alternating with white, with a blue rectangle in the canton bearing 50 small, white, five-pointed stars arranged in nine offset horizontal rows of six stars (top and bottom) alternating with rows of five stars. The 50 stars on the flag represent the 50 U.S. states and the 13 stripes represent the original Thirteen Colonies that rebelled against the British Crown and became the first states in the Union.[1] Nicknames for the flag include the stars and stripes, Old Glory,[2] the American flag, and the star-spangled banner (also the name of the country's official national anthem).
Because of its symbolism, the starred blue canton is called the "union". This part of the national flag can stand alone as a maritime flag called the Union Jack.
Symbolism
The flag of the United States is one of the nation's widely recognized and used symbols. Within the U.S. it is frequently displayed, not only on public buildings, but on private residences, as well as iconically in forms such as decals for car windows, and clothing ornaments such as badges and lapel pins. Throughout the world it is used in public discourse to refer to the U.S., both as a nation state, government, and set of policies, but also as an ideology and set of ideas.
Many understand the flag to represent the freedoms and rights guaranteed in the U.S. Constitution and its Bill of Rights and perhaps most of all to be a symbol of individual and personal liberty as set forth in the Declaration of Independence. The flag is a complex and contentious symbol, around which emotions run high.
Apart from the numbers of stars and stripes representing the number of current and original states, respectively, and the union with its stars representing a constellation, there is no legally defined symbolism to the colors and shapes on the flag. However, folk theories and traditions abound; for example, that the stripes refer to rays of sunlight and that the stars refer to the heavens, the highest place that a person could aim to reach.[4] Tradition holds that George Washington proclaimed: "We take the stars from Heaven, the red from our mother country, separating it by white stripes, thus showing that we have separated from her, and the white stripes shall go down to posterity representing Liberty."
Design
Specification
The basic design of the current flag is specified by 4 U.S.C. § 1; 4 U.S.C. § 2 outlines the addition of new stars to represent new states. The specification gives the following values:
* Hoist (width) of the flag: A = 1.0
* Fly (length) of the flag: B = 1.9[6]
* Hoist (width) of the Union: C = 0.5385 (A x 7/13, spanning seven stripes)
* Fly (length) of the Union: D = 0.76 (B × 2/5, two fifths of the flag length)
* E = F = 0.0538 (C/10, One tenth the height of the field of stars)
* G = H = 0.0633 (D/12, One twelfth the width of the field of stars)
* Diameter of star: K = 0.0616
* Width of stripe: L = 0.0769 (A/13, One thirteenth of the flag width)
Colors
The exact shades of red, white, and blue to be used in the flag are specified as follows:
Dark Red 70180 193 C #BF0A30 (191,10,48)
White 70001 Safe #FFFFFF (255,255,255)
Navy Blue 70075 281 C #002868 (0,40,104)
The 49- and 50-star unions
When Alaska and Hawaii were being considered for statehood in the 1950s, more than 1,500 designs were spontaneously submitted to President Dwight D. Eisenhower. Although some of them were 49-star versions, the vast majority were 50-star proposals. At least three, and probably more, of these designs were identical to the present design of the 50-star flag.[10] At the time, credit was given by the Executive Department to the United States Army Institute of Heraldry for the design.
Of these proposals, one created by 18-year old Robert G. Heft in 1958 as a school project has received the most publicity. His mother was a seamstress, but refused to do any of the work for him. He originally received a B- for the project. After discussing the grade with his teacher, it was agreed (somewhat jokingly) that if the flag was accepted by Congress, the grade would be reconsidered. Heft's flag design was chosen and adopted by presidential proclamation after Alaska and before Hawaii was admitted into the union in 1959. He got an A.
Decoration
Traditionally, the flag may be decorated with golden fringe surrounding the perimeter of the flag as long as it does not deface the flag proper. Ceremonial displays of the flag, such as those in parades or on indoor posts, often utilize fringe to enhance the beauty of the flag. The first recorded use of fringe on a flag dates from 1835, and the Army used it officially in 1895. No specific law governs the legality of fringe, but a 1925 opinion of the attorney general addresses the use of fringe (and the number of stars) "...is at the discretion of the Commander in Chief of the Army and Navy..." as quoted from footnote in previous volumes of Title 4 of the United States Code law books and is a source for claims that such a flag is a military ensign not civilian. However, according to the Army Institute of Heraldry, which has official custody of the flag designs and makes any change ordered, there are no implications of symbolism in the use of fringe.
Flag etiquette
Main article: United States Flag Code
The United States Flag Code outlines certain guidelines for the use, display, and disposal of the flag. For example, the flag should never be dipped to any person or thing, unless it is the ensign responding to a salute from a ship of a foreign nation. (This tradition comes from the 1908 Summer Olympics in London, where countries were asked to dip their flag to King Edward VII: the American team captain Martin Sheridan refused, famously proclaiming that "this flag dips to no earthly king."[13]). The flag should never be allowed to touch the ground and, if flown at night, must be illuminated. If the edges become tattered through wear, the flag should be repaired or replaced. When a flag is so tattered that can no longer serve as a symbol of the United States, it should be destroyed in a dignified manner, preferably by burning. The American Legion and other organizations regularly conduct dignified flag-burning ceremonies, often on Flag Day, June 14. It is a common myth that if a flag touches the ground or a flag that is soiled must be burned as well. While a flag that is currently touching the ground and a soiled flag are unfit for display, neither situation is permanent and thus the flag does not need to be burned if the unfit situation is remedied. [14]
Although US Flag Code states that "The flag should not be used as part of a costume or athletic uniform, except that a flag patch may be used on the uniform of military personnel, firefighters, police officers, and members of patriotic organizations", many athletic teams have worn the flag as a part of their uniform. Notably, Major League Baseball placed the flag on the back of all uniforms following the 9/11 attacks, and the US team in the 2006 World Baseball Classic wore a flag patch on their left sleeve. For Independence Day and 9/11 2008, with the exception of the Toronto Blue Jays, All MLB teams will wear navy-blue versions of their hats, with an American flag imposed inside their own logo.
Although the Flag Code is U.S. Federal law, there is no penalty for failure to comply with the Flag Code and it is not widely enforced—indeed, punitive enforcement would conflict with the First Amendment right to freedom of speech. Passage of the proposed Flag Desecration Amendment would overrule legal precedent that has been established in this area.
Folding the flag
Though not part of the official Flag Code, according to military custom flags should be folded into a triangular shape when not in use. (The Philippines, a former American territory, also has this custom for folding its flag.) To properly fold the flag:
1. Begin by holding it waist-high with another person so that its surface is parallel to the ground.
2. Fold the lower half of the stripe section lengthwise over the field of stars, holding the bottom and top edges securely.
3. Fold the flag again lengthwise with the blue field on the outside.
4. Make a rectangular fold then a triangular fold by bringing the striped corner of the folded edge to meet the open top edge of the flag. Starting the fold from the left side over to the right
5. Turn the outer end point inward, parallel to the open edge, to form a second triangle.
6. The triangular folding is continued until the entire length of the flag is folded in this manner (usually thirteen triangular folds, as shown at right). On the final fold, any remnant that does not neatly fold into a triangle (or in the case of exactly even folds, the last triangle) is tucked into the previous fold.
7. When the flag is completely folded, only a triangular blue field of stars should be visible.
Display
The flag is customarily flown year-round at most public buildings, and it is not unusual to find private houses flying full-size flags. Some private use is year-round, but becomes widespread on civic holidays like Memorial Day, Veterans Day, Presidents' Day, Flag Day, and on Independence Day. On Memorial Day it is common to place small flags by war memorials and next to the graves of U.S. war veterans.
Places of continuous display
By presidential proclamation, acts of Congress, and custom, American flags are displayed continuously at certain locations.
* Replicas of the Star Spangled Banner Flag (15 stars, 15 stripes) are flown at two sites in Baltimore, Maryland: Fort McHenry National Monument and Historic Shrine (Presidential Proclamation No. 2795, July 2, 1948) and Flag House Square (Public Law 83-319, approved March 26, 1954).
* United States Marine Corps War Memorial (Raising the Flag on Iwo Jima), Arlington, Virginia (Presidential Proclamation No. 3418, June 12, 1961).
* Lexington, Massachusetts Town Green (Public Law 89-335, approved November 8, 1965).
* The White House, Washington, DC (Presidential Proclamation No. 4000, September 4, 1970).
* Fifty U.S. Flags are displayed continuously at the Washington Monument, Washington, DC. (Presidential Proclamation No. 4064, July 6, 1971, effective July 4, 1971).
* By order of Richard Nixon at United States Customs Service Ports of Entry that are continuously open (Presidential Proclamation No. 4131, May 5, 1972).
* By Congressional decree, a Civil War era flag (for the year 1863) flies above Pennsylvania Hall (Old Dorm) at Gettysburg College. This building, occupied by both sides at various points of the Battle of Gettysburg, served as a lookout and battlefield hospital.
* Grounds of the National Memorial Arch in Valley Forge NHP, Valley Forge, Pennsylvania (Public Law 94-53, approved July 4, 1975).
* Mount Slover limestone quarry (Colton Liberty Flag), in Colton, California (Act of Congress). First raised July 4, 1917.[15]
* Washington Camp Ground, part of the former Middlebrook encampment, Bridgewater, New Jersey, Thirteen Star Flag, by Act of Congress.
* By custom, at the Maryland home, birthplace, and grave of Francis Scott Key; at the Worcester, Massachusetts war memorial; at the plaza in Taos, New Mexico (since 1861); at the United States Capitol (since 1918); and at Mount Moriah Cemetery in Deadwood, South Dakota.
* On the south pole, in the center of the Antarctic, an American flag is posted separate from the cluster of worldwide flags.
* In addition, the American flag is on continuous display on the surface of the Moon, having been placed there by the astronauts of Apollo 11, Apollo 12, Apollo 14, Apollo 15, Apollo 16, and Apollo 17. It is possible that Apollo 11's flag was knocked down by the exhaust force of liftoff for return to lunar orbit.
Particular days of display
The flag should especially be displayed at full staff on the following days:
* January 1 - New Year's Day
* January 20 - Inauguration Day
* February 12 - Lincoln's Birthday
* Third Monday in February - Presidents' Day, originally Washington's birthday
* Third Saturday in May - Armed Forces Day
* Last Monday in May - Memorial Day (half-staff until noon)
* June 14 - Flag Day
* July 4 - Independence Day
* First Monday in September - Labor Day
* September 11 - Patriot Day
* September 17 - Constitution Day
* Second Monday in October - Columbus Day
* October 27 - Navy Day
* November 11 - Veterans Day
* Fourth Thursday in November - Thanksgiving Day
* and such other days as may be proclaimed by the President of the United States; the birthdays of States (date of admission); and on State holidays.
When Displaying the flag at half staff
The US Flag is displayed at half staff as a sign of respect or mourning. Nationwide, this action is proclaimed by the president of the United States; state-wide or territory-wide, the proclamation is made by the governor. In addition, there is no prohibition against municipal governments, private businesses or citizens flying the flag at half staff as a local sign of respect and mourning. President Dwight D. Eisenhower issued the first proclamation on March 1, 1954 standardizing the dates and time periods for flying the flag at half staff from all federal buildings, grounds, and naval vessels; other congressional resolutions and presidential proclamations ensued. However, they are only guidelines to all other entities: typically followed at state and local government facilities, and encouraged of private businesses and citizens. It is worthy of note that the rules regarding the display of the flag are the "Flag Code", not the Flag Law or Flag Act: there are no legal penalties for flying the flag at half staff (or upside down) improperly.
To properly fly the US flag at half staff, the protocol is to first hoist it briskly to full staff, then reverently (slowly) lower it to half-staff. Similarly, when the flag is to be lowered from half staff, it should be first hoisted briskly to full staff, then lowered reverently to the base of the flagpole.
Federal guidelines state the flag should be flown at half staff at the following dates/times:
* May 15 - Peace Officers Memorial Day
* Last Monday in May - Memorial Day (until noon)
* July 27 - Korean War Veterans Day
* September 11 - Patriot Day[16]
* December 7 - Pearl Harbor Remembrance Day
* For 30 days - Death of a US President or former President
* For 10 days - Death of a US Vice President, Supreme Court Chief Justice/retired Chief Justice, or Speaker of the House of Representatives.
* From death until the day of interment - US Supreme Court Associate Justice, member of the Cabinet, former Vice President, President pro-tempore of the Senate, or the majority and minority leaders of the Senate and House of Representatives. Also for federal facilities within a state or territory, for the governor.
* On the day after the death - US Senators, Members of Congress, territorial delegates or the resident commissioner of the commonwealth of Puerto Rico
History
See also: Timeline of the Flag of the United States
The flag has been changed 26 times since the new, 13-state union adopted it. The 48-star version went unchanged for 47 years, the longest time the flag went unmodified until July 4, 2007, when the current 50-star flag broke the record.
First flag
At the time of the signing of the Declaration of Independence, July 4, 1776, the United States had no official national flag. The Grand Union Flag has historically been referred to as the "First National Flag"; although it has never had any official status, it was used throughout the American Revolutionary War by George Washington and formed the basis for the design of the first official US flag.
This flag is properly considered the de facto first naval ensign of the United States. It was first raised aboard Continental Navy Commodore Esek Hopkins' flagship Alfred on the Delaware River on December 3, 1775,[17] possibly (according to his claim) by the ship's senior lieutenant John Paul Jones.
The origins of the design are unclear. It closely resembles the British East India Company (BEIC) flag of the same era, and an argument dating to Sir Charles Fawcett in 1937 holds that the BEIC flag indeed inspired the design.[18] However, the BEIC flag could have from 9 to 13 stripes, and was not allowed to be flown outside the Indian Ocean.[19] Both flags could have been easily constructed by adding white stripes to a British Red Ensign, a common flag throughout Britain and its colonies.
Another theory holds that the red-and-white stripe—and later, stars-and-stripes—motif of the flag may have been based on the Washington family coat-of-arms, which consisted of a shield "argent, two bars gules, above, three mullets gules" (a white shield with two red bars below three red stars).[20]
More likely it was based on a flag of the Sons of Liberty, one of which consisted of 13 red and white alternating horizontal stripes.
See also: Flags of the American Revolution
The Flag Resolution of 1777
On June 14, 1777, the Marine Committee of the Second Continental Congress passed the Flag Resolution which stated: "Resolved, That the flag of the United States be thirteen stripes, alternate red and white; that the union be thirteen stars, white in a blue field, representing a new Constellation."[21] Flag Day is now observed on June 14 of each year. A false tradition holds that the new flag was first hoisted in June of 1777 by the Continental Army at the Middlebrook encampment.[22]
The 1777 resolution was probably meant to define a naval ensign, rather than a national flag. It appears between other resolutions from the Marine Committee. On 10 May 1779 Secretary of the Board of War Richard Peters, Jr. expressed concern "it is not yet settled what is the Standard of the United States."[23]
The Flag Resolution did not specify any particular arrangement, number of points, nor orientation for the stars. The pictured flag shows thirteen outwardly-oriented five-pointed stars arranged in a circle, the so-called Betsy Ross flag. Although the Betsy Ross legend is not taken seriously by many historians, the design itself is the oldest version of any U.S. flag to appear on any physical relic[citation needed], since it is historically referenced in contemporary battlefield paintings by John Trumbull and Charles Willson Peale, which depict the circular star arrangement. Popular designs at the time were varied and most were individually crafted rather than mass-produced. Other examples of 13-star arrangements can be found on the Francis Hopkinson flag, the Cowpens flag, and the Brandywine flag. Given the scant archaeological and written evidence, it is unknown which design was the most popular at that time.
The origin of the stars and stripes design cannot be fully documented. A popular story credits Betsy Ross for sewing the first flag from a pencil sketch by George Washington who personally commissioned her for the job. However, no evidence for this theory exists beyond Ross' descendants' much later recollections of what she told her family. Another woman, Rebecca Young, has also been credited as having made the first flag by later generations of her family. Rebecca Young's daughter was Mary Pickersgill, who made the Star Spangled Banner Flag.
It is likely that Francis Hopkinson of New Jersey, a signer of the Declaration of Independence, designed the 1777 flag while he was the Chairman of the Continental Navy Board's Middle Department, sometime between his appointment to that position in November of 1776 and the time that the flag resolution was adopted in June of 1777. This contradicts the Betsy Ross legend, which suggests that she sewed the first Stars and Stripes flag by request of the government in the Spring of 1776.[21][24] Hopkinson was the only person to have made such a claim during his own lifetime, when he sent a bill to Congress for his work. He asked for a "Quarter Cask of the Public Wine" as payment initially. The payment was not made, however, because it was determined he had already received a salary as a member of Congress, and he was not the only person to have contributed to the design. It should be noted that no one else contested his claim at the time.
Later flag acts
In 1795, the number of stars and stripes was increased from 13 to 15 (to reflect the entry of Vermont and Kentucky as states of the union). For a time the flag was not changed when subsequent states were admitted, probably because it was thought that this would cause too much clutter. It was the 15-star, 15-stripe flag that inspired Francis Scott Key to write "The Star-Spangled Banner," now the national anthem.
On April 4, 1818, a plan was passed by Congress at the suggestion of U.S. Naval Captain Samuel C. Reid[25] in which the flag was changed to have 20 stars, with a new star to be added when each new state was admitted, but the number of stripes would remain at thirteen to honor the original colonies. The act specified that new flag designs should become official on the first July 4 (Independence Day) following admission of one or more new states. The most recent change, from 49 stars to 50, occurred in 1960 when the present design was chosen, after Hawaii gained statehood in August 1959. Before that, the admission of Alaska in January 1959 prompted the debut of a short-lived 49-star flag.
As of July 4, 2007, the 50-star flag has become the longest rendition in use.
First salute
The Netherlands was the first country to salute the Grand Union flag, when gun salutes by American ships were returned by officials on Dutch islands in the West Indies in late 1776: on St. Croix in October, and on St. Eustatius in November. (Though later, the better documented St. Eustatius incident involving the USS Andrew Doria is traditionally regarded as the "first salute".) France was the first country to salute the Stars and Stripes, when a fleet off the French mainland returned a gun salute by Captain John Paul Jones commanding USS Ranger on February 14, 1778.
Historical progression of designs
See also: List of U.S. states by date of statehood
In the following table depicting the 28 various designs of the United States flag, the star patterns for the flags are merely the usual patterns, often associated with the United States Navy. Canton designs, prior to the proclamation of the 48-star flag by President William Howard Taft on 29 October 1912, had no official arrangement of the stars. Furthermore, the exact colors of the flag were not standardized until 1934.
Future of the flag
The United States Army Institute of Heraldry has plans for flags with up to 56 stars, using a similar staggered star arrangement should additional states accede. There are political movements supporting statehood in Puerto Rico and the District of Columbia, among other areas.
Non-standard flags
A number of non-standard flags appeared in the early years of American independence. One example is the design approximated here, of a flag traditionally believed to have been carried by the American troops at the Battle of Guilford Court House in 1781. This is disputed by some other historians who think it dates to the nineteenth century. The original flag is at the North Carolina Historical Museum.
Similar flags
The flag of Liberia bears a close resemblance, showing the ex–American-slave origin of the country. The Liberian flag has similar red and white stripes, though only 11 of them, as well as a blue square for the union, but with only a single large white star.
The flag of Malaysia also has a striking resemblance, with red and white stripes (14 total), and a blue canton, but displaying instead of stars a star and crescent emblem. This might be due, however, to the great influence of the British East India Company, rather than the later United States flag
The flag of Hawaii, in use since it was a kingdom in the 19th century, with eight stripes in red, white, and blue, and the British Union Flag in the canton, has some resemblance to the U.S. Grand Union Flag of the 18th century.
The flag of Amazonas was adopted by law No. 1513 of January 14, 1982. The 25 stars in the topleft corner represent the 25 municipalities which existed on August 4, 1897. The bigger star represents the capital Manaus. The two horizontal white bars represent hope, while the red bar in the middle represents the struggles overcome.
The flag of Ohio was adopted in 1902 and designed by John Eisemann. The large blue triangle represent Ohio's hills and valleys, and the stripes represent roads and waterways. 17 stars symbolize that Ohio was the 17th state admitted to the union. The white circle with its red center not only represents the first letter of the state name, but also its nickname "the Buckeye State".
The flag of Georgia was adopted on May 8, 2003. The flag has three red and white stripes, with the state coat of arms (taken from the state seal) on a blue field in the upper left corner. In the coat of arms, the arch symbolizes the state's Constitution and the pillars represent the three branches of government: legislative, executive, and judicial. The words of the state motto, "Wisdom, Justice, Moderation," are wrapped around the pillars, guarded by a male figure dressed in Colonial attire like a soldier of the War of Independence, with a drawn sword representing the defense of the Constitution. An additional motto, In God We Trust, appears under these elements, though it is not part of the state seal nor coat of arms. The flag has thirteen stars, representing Georgia and the 12 other original states that formed the United States of America.
The flag of Piaui was created on 24 July 1922. The blue canton and a star represents the state itself and the green and yellow bars represent Piauí's union with Brazil. It is similar to an old flag of Brazil used for four days after the republican coup that established the United States of Brazil in November 1889.
The flags of Chile and of Texas have similar simplified designs, each with a single red and white stripe, and a "lone star" in the canton.
Today's Chile flag was conceived by Bernardo O'Higgins's Minister of War José Ignacio Zenteno and designed by Antonio Arcos, although some claim that is was Gregorio de Andía y Varela who drew it.
Though more dissimilar in appearance, the flag of Cuba was also inspired by the flag of the United States. Its origins date from 1849, when Cuban liberation movements emerged among Cuban exiles in the U.S.[28]
Another flag design tied to that of the U.S. flag is the flag of Puerto Rico. There are specific shades of red and blue for the construction of the flag, however there might be slight variations depending on the flag-flyer's political beliefs. The pro-independence groups use sky blue, while the pro-statehood groups use a darker shade of blue more similar to that of the U.S. flag. The official version uses an intermediate shade, so as not to take sides.
The green bars in the flag of Goiás symbolize the spring and the yellow bars gold. The blue rectangle in the topleft corner symbolizes the sky, with the five stars forming the constellation of the Southern Cross. The flag was adopted on July 30, 1919. It is a toned down version of the original Republican flag of Brazil, in itself not original.
The water buffalo or domestic Asian water buffalo (Bubalus bubalis) is a large bovid originating in South Asia, Southeast Asia, and China. Today, it is also found in Europe, Australia, and some American countries. The wild water buffalo (Bubalus arnee) native to Southeast Asia is considered a different species, but most likely represents the ancestor of the domestic water buffalo.
Two extant types of water buffalo are recognized based on morphological and behavioural criteria – the river buffalo of South Asia and further west to the Balkans, Egypt, and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The origins of the domestic water buffalo types are debated, although results of a phylogenetic study indicate that the swamp type may have originated in China and was domesticated about 4,000 years ago, while the river type may have originated from India and was domesticated about 5,000 years ago. Water buffalo were traded from the Indus Valley Civilisation to Mesopotamia, in modern Iraq, 2500 BC by the Meluhhas. The seal of a scribe employed by an Akkadian king shows the sacrifice of water buffalo.
At least 130 million domestic water buffalo exist, and more human beings depend on them than on any other domestic animal. They are especially suitable for tilling rice fields, and their milk is richer in fat and protein than that of dairy cattle. The large feral population of northern Australia became established in the late 19th century, and smaller feral herds are in New Guinea, Tunisia, and northeastern Argentina. Feral herds are also present in New Britain, New Ireland, Irian Jaya, Papua New Guinea, Colombia, Guyana, Suriname, Brazil, and Uruguay.
CHARACTERISTICS
The skin of river buffalo is black, but some specimens may have dark, slate-coloured skin. Swamp buffalo have a grey skin at birth, but become slate blue later. Albinoids are present in some populations. River buffalo have comparatively longer faces, smaller girths, and bigger limbs than swamp buffalo. Their dorsal ridges extend further back and taper off more gradually. Their horns grow downward and backward, then curve upward in a spiral. Swamp buffalo are heavy-bodied and stockily built; the body is short and the belly large. The forehead is flat, the eyes prominent, the face short, and the muzzle wide. The neck is comparatively long, and the withers and croup are prominent. A dorsal ridge extends backward and ends abruptly just before the end of the chest. Their horns grow outward, and curve in a semicircle, but always remain more or less on the plane of the forehead. The tail is short, reaching only to the hocks. Height at withers is 129–133 cm for males, and 120–127 cm for females. They range in weight from 300–550 kg, but weights of over 1,000 kg have also been observed.
Tedong bonga is a black pied buffalo featuring a unique black and white colouration that is favoured by the Toraja of Sulawesi.
The swamp buffalo has 48 chromosomes; the river buffalo has 50 chromosomes. The two types do not readily interbreed, but fertile offspring can occur. Buffalo-cattle hybrids have not been observed to occur, and the embryos of such hybrids do not reach maturity in laboratory experiments.
The rumen of the water buffalo has important differences from that of other ruminants. It contains a larger population of bacteria, particularly the cellulolytic bacteria, lower protozoa, and higher fungi zoospores. In addition, higher rumen ammonia nitrogen (NH4-N) and higher pH have been found as compared to those in cattle
ECOLOGY AND BEHAVIOR
River buffalo prefer deep water. Swamp buffalo prefer to wallow in mudholes which they make with their horns. During wallowing, they acquire a thick coating of mud. Both are well adapted to a hot and humid climate with temperatures ranging from 0 °C in the winter to 30 °C and greater in the summer. Water availability is important in hot climates, since they need wallows, rivers, or splashing water to assist in thermoregulation. Some breeds are adapted to saline seaside shores and saline sandy terrain.
DIET
Water buffalo thrive on many aquatic plants and during floods, will graze submerged, raising their heads above the water and carrying quantities of edible plants. They eat reeds (quassab), a giant reed (birdi), a kind of bulrush (kaulan), water hyacinth, and marsh grasses. Some of these plants are of great value to local peoples. Others, such as water hyacinth, are a major problem in some tropical valleys, and water buffalo may help to keep waterways clear.
Green fodders are used widely for intensive milk production and for fattening. Many fodder crops are conserved as hay, chaffed, or pulped. Fodders include alfalfa, berseem and bancheri, the leaves, stems or trimmings of banana, cassava, fodder beet, halfa, ipil-ipil and kenaf, maize, oats, pandarus, peanut, sorghum, soybean, sugarcane, bagasse, and turnips. Citrus pulp and pineapple wastes have been fed safely to buffalo. In Egypt, whole sun-dried dates are fed to milk-buffalo up to 25% of the standard feed mixture.
REPRODUCTION
Swamp buffalo generally become reproductive at an older age than river breeds. Young males in Egypt, India, and Pakistan are first mated at about 3.0–3.5 years of age, but in Italy
they may be used as early as 2 years of age. Successful mating behaviour may continue until the animal is 12 years or even older. A good river male can impregnate 100 females in a year. A strong seasonal influence on mating occurs. Heat stress reduces libido
Although buffalo are polyoestrous, their reproductive efficiency shows wide variation throughout the year. Buffalo cows exhibit a distinct seasonal change in displaying oestrus, conception rate, and calving rate. The age at first oestrus of heifers varies between breeds from 13–33 months, but mating at the first oestrus is often infertile and usually deferred until they are 3 years old. Gestation lasts from 281–334 days, but most reports give a range between 300 and 320 days. Swamp buffalo carry their calves for one or two weeks longer than river buffalo. It is not rare to find buffalo that continue to work well at the age of 30, and instances of a working life of 40 years are recorded.
TAXONOMIC HISTORY
Carl Linnaeus first described the genus Bos and the water buffalo under the binomial Bubalis bubalus in 1758; the latter was known to occur in Asia and as a domestic form in Italy. Ellerman and Morrison-Scott treated the wild and domestic forms of the water buffalo as conspecifics whereas others treated them as different species. The nomenclatorial treatment of wild and domestic forms has been inconsistent and varies between authors and even within the works of single authors.
In March 2003, the International Commission on Zoological Nomenclature achieved consistency in the naming of wild and domestic water buffalo by ruling that the scientific name Bubalus arnee is valid for the wild form. B. bubalis continues to be valid for the domestic form and applies also to feral populations.
DOMESTICATION AND BREEDING
Water buffalo were domesticated in India about 5000 years ago, and in China about 4000 years ago. Two types are recognized, based on morphological and behavioural criteria – the river buffalo of the Indian subcontinent and further west to the Balkans and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The present-day river buffalo is the result of complex domestication processes involving more than one maternal lineage and a significant maternal gene flow from wild populations after the initial domestication events. Twenty-two breeds of the river type water buffalo are known, including Murrah, Nili-Ravi, Surti, Jafarabadi, Anatolian, Mediterranean, and Egyptian buffalo. China has a huge variety of buffalo genetic resources, comprising 16 local swamp buffalo breeds in various regions.
Results of mitochondrial DNA analyses indicate that the two types were domesticated independently. Sequencing of cytochrome b genes of Bubalus species implies that the domestic buffalo originated from at least two populations, and that the river and the swamp types have differentiated at the full species level. The genetic distance between the two types is so large that a divergence time of about 1.7 million years has been suggested. The swamp type was noticed to have the closest relationship with the tamaraw.
DISTRIBUTION OF POPULATIONS
The water buffalo population in the world is about 172 million.
IN ASIA
More than 95.8% of the world population of water buffalo are found in Asia including both river and swamp types. The water buffalo population in India numbered over 97.9 million head in 2003, representing 56.5% of the world population. They are primarily of the river type, with 10 well-defined breeds comprising Badhawari, Murrah, Nili-Ravi, Jafarabadi, Marathwada, Mehsana, Nagpuri, Pandharpuri, Toda, and Surti. Swamp buffalo occur only in small areas in the north-eastern part of the country and are not distinguished into breeds.
In 2003, the second-largest population lived in China, with 22.759 million head, all of the swamp type with breeds kept only in the lowlands, and other breeds kept only in the mountains; as of 2003, 3.2 million swamp-type carabao buffalo were in the Philippines, nearly three million swamp buffalo were in Vietnam, and 772,764 buffalo were in Bangladesh. About 750,000 head were estimated in Sri Lanka in 1997.
The water buffalo is the main dairy animal in Pakistan, with 23.47 million head in 2010. Of these, 76% are kept in the Punjab. The rest of them are mostly in the province of Sindh. Breeds used are Nili-Ravi, Kundi, and Azi Kheli. Karachi has the largest population of water buffalos for an area where fodder is not grown, consisting of 350,000 head kept mainly for milking.
In Thailand, the number of water buffalo dropped from more than 3 million head in 1996 to less than 1.24 million head in 2011. Slightly over 75% of them are kept in the country's northeastern region. The statistics also indicate that by the beginning of 2012, less than one million were in the country, partly as a result of illegal shipments to neighboring countries where sales prices are higher than in Thailand.
Water buffalo are also present in the southern region of Iraq, in the marshes. These marshes were drained by Saddam Hussein in 1991 in an attempt to punish the south for the uprisings of 1991. Following 2003, and the fall of the Saddam regime, these lands were reflooded and a 2007 report in the provinces of Maysan and Thi Qar shows a steady increase in the number of water buffalo. The report puts the number at 40,008 head in those two provinces.
IN EUROPE AND THE MEDITERRANEAN
Water buffalo likely were introduced to Europe from India or other Oriental countries. To Italy they were introduced about the year 600 in the reign of the Longobard King Agilulf. As they appear in the company of wild horses, they probably were a present from the Khan of the Avars, a Turkic nomadic tribe that dwelt near the Danube River at the time. Sir H. Johnston knew of a herd of water buffalo presented by a King of Naples to the Bey of Tunis in the mid-19th century that had resumed the feral state in northern Tunis.
European buffalo are all of the river type and considered to be of the same breed named Mediterranean buffalo. In Italy, the Mediterranean type was particularly selected and is called Mediterranean Italian breed to distinguish it from other European breeds, which differ genetically. Mediterranean buffalo are also found in Romania, Bulgaria, Greece, Albania, Kosovo, and the Republic of Macedonia, with a few hundred in the United Kingdom, Germany, the Netherlands, Switzerland, and Hungary. Little exchange of breeding buffalo has occurred among countries, so each population has its own phenotypic features and performances. In Bulgaria, they were crossbred with the Indian Murrah breed, and in Romania, some were crossbred with Bulgarian Murrah. Populations in Turkey are of the Anatolian buffalo breed.
IN AUSTRALIA
Between 1824 and 1849, water buffalo were introduced into the Northern Territory from Timor, Kisar, and probably other islands in the Indonesian archipelago. In 1886, a few milking types were brought from India to Darwin. They have been the main grazing animals on the subcoastal plains and river basins between Darwin and Arnhem Land since the 1880s. In the early 1960s, an estimated population of 150,000 to 200,000 buffalo were living in the plains and nearby areas.
They became feral and are causing significant environmental damage. Buffalo are also found in the Top End. As a result, they were hunted in the Top End from 1885 until 1980. The commencement of the brucellosis and tuberculosis campaign (BTEC) resulted in a huge culling program to reduce buffalo herds to a fraction of the numbers that were reached in the 1980s. The BTEC was finished when the Northern Territory was declared free of the disease in 1997. Numbers dropped dramatically as a result of the campaign, but have since recovered to an estimated 150,000 animals across northern Australia in 2008.
During the 1950s, buffalo were hunted for their skins and meat, which was exported and used in the local trade. In the late 1970s, live exports were made to Cuba and continued later into other countries. Buffalo are now crossed with riverine buffalo in artificial insemination programs, and may be found in many areas of Australia. Some of these crossbreds are used for milk production. Melville Island is a popular hunting location, where a steady population up to 4,000 individuals exists. Safari outfits are run from Darwin to Melville Island and other locations in the Top End, often with the use of bush pilots. The horns, which can measure up to a record of 3.1 m tip-to-tip, are prized hunting trophies.
The buffalo have developed a different appearance from the Indonesian buffalo from which they descend. They live mainly in freshwater marshes and billabongs, and their territory range can be quite expansive during the wet season. Their only natural predators in Australia are adult saltwater crocodiles, with whom they share the billabongs, and dingoes, which have been known to prey on buffalo calves and occasionally adult buffalo when the dingoes are in large packs.
Buffalo were exported live to Indonesia until 2011, at a rate of about 3000 per year. After the live export ban that year, the exports dropped to zero, and had not resumed as of June 2013.
IN SOUTH AMERICA
Water buffalo were introduced into the Amazon River basin in 1895. They are now extensively used there for meat and dairy production. In 2005, the buffalo herd in the Brazilian Amazon stood at roughly 1.6 million head, of which 460,000 were located in the lower Amazon floodplain. Breeds used include Mediterranean from Italy, Murrah and Jafarabadi from India, and Carabao from the Philippines.
During the 1970s, small herds were imported to Costa Rica, Ecuador, Cayenne, Panama, Surinam, Guyana, and Venezuela.
In Argentina, many game ranches raise water buffalo for commercial hunting
IN NORTH AMERICA
In 1974, four water buffalo were imported to the United States from Guam to be studied at the University of Florida. In February 1978, the first herd arrived for commercial farming. Until 2002, only one commercial breeder was in the United States. Water buffalo meat is imported from Australia. Until 2011, water buffalo were raised in Gainesville, Florida, from young obtained from zoo overflow. They were used primarily for meat production, frequently sold as hamburger.[38] Other US ranchers use them for production of high-quality mozzarella cheese.
HUSBANDRY
The husbandry system of water buffalo depends on the purpose for which they are bred and maintained. Most of them are kept by people who work on small farms in family units. Their buffalo live in very close association with them, and are often their greatest capital asset. The women and girls in India generally look after the milking buffalo while the men and boys are concerned with the working animals. Throughout Asia, they are commonly tended by children who are often seen leading or riding their charges to wallowing places. Water buffalo are the ideal animals for work in the deep mud of paddy fields because of their large hooves and flexible foot joints. They are often referred to as "the living tractor of the East". It probably is possible to plough deeper with buffalo than with either oxen or horses. They are the most efficient and economical means of cultivation of small fields. In most rice-producing countries, they are used for threshing and for transporting the sheaves during the rice harvest. They provide power for oilseed mills, sugarcane presses, and devices for raising water. They are widely used as pack animals, and in India and Pakistan also for heavy haulage. In their invasions of Europe, the Turks used buffalo for hauling heavy battering rams. Their dung is used as a fertilizer, and as a fuel when dried.
Buffalo contribute 72 million tones of milk and three million tones of meat annually to world food, much of it in areas that are prone to nutritional imbalances. In India, river-type buffalo are kept mainly for milk production and for transport, whereas swamp-type buffalo are kept mainly for work and a small amount of milk.
DAIRY PRODUCTS
Water buffalo milk presents physicochemical features different from that of other ruminant species, such as a higher content of fatty acids and proteins. The physical and chemical parameters of swamp and river type water buffalo milk differ. Water buffalo milk contains higher levels of total solids, crude protein, fat, calcium, and phosphorus, and slightly higher content of lactose compared with those of cow milk. The high level of total solids makes water buffalo milk ideal for processing into value-added dairy products such as cheese. The conjugated linoleic acid (CLA) content in milk ranged from 4.4 mg/g fat in September to 7.6 mg/g fat in June. Seasons and genetics may play a role in variation of CLA level and changes in gross composition of the water buffalo milk.
Water buffalo milk is processed into a large variety of dairy products:
- Cream churns much faster at higher fat levels and gives higher overrun than cow cream.
- Butter from water buffalo cream displays more stability than that from cow cream.
- Ghee from water buffalo milk has a different texture with a bigger grain size than ghee from cow milk.
- Heat-concentrated milk products in the Indian subcontinent include paneer, khoa, rabri, kheer and basundi.
- Fermented milk products include dahi, yogurt, and chakka.
- Whey is used for making ricotta and mascarpone in Italy, and alkarish in Syria and Egypt.
- Soft cheeses made include mozzarella in Italy, karish, mish, and domiati in Egypt, madhfor in Iraq, alghab in Syria, kesong puti in the Philippines, and vladeasa in Romania.
- The semihard cheese beyaz peynir is made in Turkey.
- Hard cheeses include braila in Romania, rahss in Egypt, white brine in Bulgaria, and akkawi in Syria.
- Watered-down buffalo milk is used as a cheaper alternative to regular milk.
MEAT AND SKIN PRODUCTS
Water buffalo meat, sometimes called "carabeef", is often passed off as beef in certain regions, and is also a major source of export revenue for India. In many Asian regions, buffalo meat is less preferred due to its toughness; however, recipes have evolved (rendang, for example) where the slow cooking process and spices not only make the meat palatable, but also preserve it, an important factor in hot climates where refrigeration is not always available.Their hides provide tough and useful leather, often used for shoes.
BONE AND HORN PRODUCTS
The bones and horns are often made into jewellery, especially earrings. Horns are used for the embouchure of musical instruments, such as ney and kaval.
ENVIRONMENTAL EFFECTS
Wildlife conservation scientists have started to recommend and use introduced populations of feral domestic water buffalo in far-away lands to manage uncontrolled vegetation growth in and around natural wetlands. Introduced water buffalo at home in such environs provide cheap service by regularly grazing the uncontrolled vegetation and opening up clogged water bodies for waterfowl, wetland birds, and other wildlife. Grazing water buffalo are sometimes used in Great Britain for conservation grazing, such as in Chippenham Fen National Nature Reserve. The buffalo can better adapt to wet conditions and poor-quality vegetation than cattle.
Currently, research is being conducted at the Lyle Center for Regenerative Studies to determine the levels of nutrients removed and returned to wetlands when water buffalo are used for wetland vegetation management.
However, in uncontrolled circumstances, water buffalo can cause environmental damage, such as trampling vegetation, disturbing bird and reptile nesting sites, and spreading exotic weeds.
RESEARCH
The world's first cloned buffalo was developed by Indian scientists from National Dairy Research Institute, Karnal. The buffalo calf was named Samrupa. The calf did not survive more than a week, and died due to some genetic disorders. So, the scientists created another cloned buffalo a few months later, and named it Garima.
On 15 September 2007, the Philippines announced its development of Southeast Asia's first cloned buffalo. The Philippine Council for Agriculture, Forestry and Natural Resources Research and Development (PCARRD), under the Department of Science and Technology in Los Baños, Laguna, approved this project. The Department of Agriculture's Philippine Carabao Center (PCC) will implement cloning through somatic cell nuclear transfer as a tool for genetic improvement in water buffalo. "Super buffalo calves" will be produced. There will be no modification or alteration of the genetic materials, as in genetically modified organisms.
On 1 January 2008, the Philippine Carabao Center in Nueva Ecija, per Filipino scientists, initiated a study to breed a super water buffalo that could produce 4 to 18 litres of milk per day using gene-based technology. Also, the first in vitro river buffalo was born there in 2004 from an in vitro-produced, vitrified embryo, named "Glory" after President Gloria Macapagal-Arroyo. Joseph Estrada's most successful project as an opposition senator, the PCC was created through Republic Act 3707, the Carabao Act of 1992.
IN CULTURE
Some ethnic groups, such as Batak and Toraja in Indonesia and the Derung in China, use water buffalo or kerbau (called horbo in Batak or tedong in Toraja) as sacrificial animals at several festivals.
- Legend has it that the Chinese philosophical sage Laozi left China through the Han Gu Pass riding a water buffalo.
- According to Hindu lore, the god of death Yama, rides on a male water buffalo.
- The carabao subspecies is considered a national symbol in the Philippines.
- In Vietnam, water buffalo are often the most valuable possession of poor farmers: "Con trâu là đầu cơ nghiệp". They are treated as a member of the family: "Chồng cày, vợ cấy, con trâu đi bừa" ("The husband ploughs, the wife sows, water buffalo draws the rake") and are friends of the children. Children talk to their water buffalo, "Bao giờ cây lúa còn bông. Thì còn ngọn cỏ ngoài đồng trâu ăn." (Vietnamese children are responsible for grazing water buffalo. They feed them grass if they work laboriously for men.) In the old days, West Lake, Hà Nội, was named Kim Ngưu - Golden Water Buffalo.
- The Yoruban Orisha Oya (goddess of change) takes the form of a water buffalo.
FIGHTING FESTIVALS
- Pasungay Festival is held annually in the town of San Joaquin, Iloilo in the Philippines.
- Moh juj Water Buffalo fighting, is held every year in Bhogali Bihu in Assam. Ahotguri in Nagaon is famous for it.
- Do Son Water Buffalo Fighting Festival of Vietnam, held each year on the ninth day of the eighth month of the lunar calendar at Do Son Township, Haiphong City in Vietnam, is one of the most popular Vietnam festivals and events in Haiphong City. The preparations for this buffalo fighting festival begin from the two to three months earlier. The competing buffalo are selected and methodically trained months in advance. It is a traditional festival of Vietnam attached to a Water God worshipping ceremony and the Hien Sinh custom to show martial spirit of the local people of Do Son, Haiphong.
- "Hai Luu" Water Buffalo Fighting Festival of Vietnam, According to ancient records, the buffalo fighting in Hai Luu Commune has existed from the 2nd century B.C. General Lu Gia at that time, had the buffalo slaughtered to give a feast to the local people and the warriors, and organized buffalo fighting for amusement. Eventually, all the fighting buffalo will be slaughtered as tributes to the deities.
- "Ko Samui" Water Buffalo Fighting Festival of Thailand, is a very popular event held on special occasions such as New Year's Day in January, and Songkran in mid-April, this festival features head-wrestling bouts in which two male Asian water buffalo are pitted against one another. Unlike in Spanish Bullfighting, wherein bulls get killed while fighting sword-wielding men, Buffalo Fighting Festival held at Ko Samui, Thailand is fairly harmless contest. The fighting season varies according to ancient customs & ceremonies. The first Buffalo to turn and run away is considered the loser, the winning buffalo becomes worth several million baht. Ko Samui is an island in the Gulf of Thailand in the South China Sea, it is 700 km from Bangkok and is connected to it by regular flights.
- "Ma'Pasilaga Tedong" Water Buffalo Fighting Festival, in Tana Toraja Regency of Sulawesi Island, Indonesia, is a very popular event where the Rambu Solo' or a Burial Festival took place in Tana Toraja.
RACING FESTIVALS
Carabao Carroza Festival is being held annually every May in the town of Pavia, Iloilo, Philippines.
Kambala races of Karnataka, India, take place between December and March. The races are conducted by having the water buffalo (he buffalo) run in long parallel slushy ditches, where they are driven by men standing on wooden planks drawn by the buffalo. The objectives of the race are to finish first and to raise the water to the greatest height and also a rural sport. Kambala races are arranged with competition, as well as without competition and as a part of thanks giving (to god) in about 50 villages of coastal Karnataka.
In the Chonburi Province of Thailand, and in Pakistan, there are annual water buffalo races.
Chon Buri Water buffalo racing festival, Thailand In downtown Chonburi, 70 km south of Bangkok, at the annual water buffalo festival held in mid-October. About 300 buffalo race in groups of five or six, spurred on by bareback jockeys wielding wooden sticks, as hundreds of spectators cheer. The water buffalo has always played an important role in agriculture in Thailand. For farmers of Chon Buri Province, near Bangkok, it is an important annual festival, beginning in mid-October. It is also a celebration among rice farmers before the rice harvest. At dawn, farmers walk their buffalo through surrounding rice fields, splashing them with water to keep them cool before leading them to the race field. This amazing festival started over a hundred years ago when two men arguing about whose buffalo was the fastest ended up having a race between them. That’s how it became a tradition and gradually a social event for farmers who gathered from around the country in Chonburi to trade their goods. The festival also helps a great deal in preserving the number of buffalo, which have been dwindling at quite an alarming rate in other regions. Modern machinery is rapidly replacing buffalo in Thai agriculture. With most of the farm work mechanized, the buffalo-racing tradition has continued. Racing buffalo are now raised just to race; they do not work at all. The few farm buffalo which still do work are much bigger than the racers because of the strenuous work they perform. Farm buffalo are in the "Buffalo Beauty Pageant", a Miss Farmer beauty contest and a comic buffalo costume contest etc.. This festival perfectly exemplifies a favored Thai attitude to life — "sanuk," meaning fun.
Babulang Water buffalo racing festival, Sarawak, Malaysia, is the largest or grandest of the many rituals, ceremonies and festivals of the traditional Bisaya (Borneo) community of Limbang, Sarawak. Highlights are the Ratu Babulang competition and the Water buffalo races which can only be found in this town in Sarawak, Malaysia.
Vihear Suor village Water buffalo racing festival, in Cambodia, each year, people visit Buddhist temples across the country to honor their deceased loved ones during a 15-day period commonly known as the Festival of the Dead but in Vihear Suor village, about 35 km northeast of Cambodia, citizens each year wrap up the festival with a water buffalo race to entertain visitors and honour a pledge made hundreds of years ago. There was a time when many village cattle which provide rural Cambodians with muscle power to plough their fields and transport agricultural products died from an unknown disease. The villagers prayed to a spirit to help save their animals from the disease and promised to show their gratitude by holding a buffalo race each year on the last day of "P'chum Ben" festival as it is known in Cambodian. The race draws hundreds of spectators who come to see riders and their animals charge down the racing field, the racers bouncing up and down on the backs of their buffalo, whose horns were draped with colorful cloth.
Pothu puttu matsaram, Kerala, South India, is similar to Kambala races.
WIKIPEDIA
representing eddie izzard quotes in hand-drawn typography. for a dvd booklet as part of a box set i designed for my college final major project
In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile .
He ask in his installationmade of different steps : "IS CLIMATE CHANGE STILL AN EMERGENCY ? "
www.emergencyrooms.org/biennalist.html .
He also converge with his work on emergencies : www.emergencyrooms.org
The exhibition update is from the 25/9/2013( please ask permission for use of photos =1@colonel.dk )
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
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in preparation of the COP 19 to be held in Warsaw Poland 2013 ( climate change conference on global warming ) . Can artist performa and activate a debate ?