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Cronología abreviada de la imposición y la entrega (Por. C. Fazio)
I
El pasado 22 de noviembre, la 51 reunión interparlamentaria México-Estados Unidos concluyó con la difusión de un comunicado conjunto, en el que la delegación estadunidense manifestó su interés "por una mayor interdependencia y seguridad energética de Norteamérica". En la reunión, Michael McCaul, presidente de la delegación visitante y del Comité de Seguridad Interior de la Cámara de Representantes de Estados Unidos, elogió el paquete de contrarreformas neoliberales impulsado por Enrique Peña y el Pacto por México y, tras mencionar los acuerdos transfronterizos de hidrocarburos de su país con México, abogó por una profundización de la "alianza energética" entre ambos y Canadá.
En el marco de las privatizaciones en curso de Petróleos Mexicanos (Pemex) y la Comisión Federal de Electricidad (CFE) en el Congreso mexicano, las "aspiraciones" de McCaul y los parlamentarios estadunidenses no fueron para nada inocentes. Abrevan en la histórica ambición anexionista y de clase que desde los tiempos del secretario de Estado William H. Seward, en la segunda mitad del siglo XIX, se expresó en un proyecto de control infraestructural y económico de dimensiones continentales que incluía la absorción de México y Canadá; proyecto revitalizado en documentos oficiales del gobierno de Franklyn Delano Roosevelt en 1941, cuando se diseñó la Doctrina de Áreas Ampliadas (Grand Area Doctrine), plan geopolítico de integración vertical imperial para la competencia comercial entre bloques, con eje en la noción de "seguridad nacional" estadunidense.
En su última fase, dicho proceso arranca a finales de los años 70 del siglo pasado, cuando el lobby petrolero texano logró colocar en la Oficina Oval a Ronald Reagan y George Bush padre. Veamos:
1973. El embargo de la Organización de Países Exportadores de Petróleo (OPEP) a Estados Unidos, a raíz de su apoyo a Israel en la guerra de Yom Kippur, exhibió su vulnerabilidad energética y generó un trauma geoestratégico. Desde entonces, de cara a cualquier interrupción futura del flujo de hidrocarburos (petróleo y gas natural) del golfo Pérsico, Washington priorizó por razones de "seguridad nacional" sus políticas hacia "fuentes amigables, estables y seguras" como Inglaterra, Canadá, México y Venezuela.
1979. La vinculación entre la seguridad, la dependencia estratégica y las iniciativas para la inclusión de Canadá y México en esquemas de "integración" de América del Norte ingresa como tema central de la seguridad nacional de Estados Unidos. Para dejar de ser "rehenes" de la OPEP y de cara a la pugna interimperialista con los megabloques económicos de la Unión Europea y el Asia/Pacífico (Japón y los tigres asiáticos) que desafían la hegemonía de Estados Unidos, ese año, cuando el tema del petróleo y el gas era casi un tabú en las relaciones bilateral y regional, Ronald Reagan promueve en su campaña por la Casa Blanca la "desvinculación" del petróleo mexicano y el gas natural canadiense del mercado mundial y la "regionalización" de los recursos hidrocarburíficos de ambos países bajo la idea de un "mercado común energético" de América del Norte.
Años 80. En el caso de México, los mayores obstáculos para la conformación de un mercomún energético en el área espacial y territorial de Norteamérica eran el nacionalismo revolucionario, con su artículo 27 constitucional, y la noción misma de la soberanía nacional mexicana. Para librar esos escollos, Washington optó por instrumentos "no militares" (es decir, financieros y monetarios derivados de las líneas de condicionalidad del Banco Mundial, el FMI y el BID atadas a la deuda externa) y de "inteligencia política" (cooptación-corrupción de gobernantes, políticos y empresarios y las presiones derivadas de sus eventuales vínculos con el tráfico de drogas y otros ilícitos).
Históricamente, al aparato militar y diplomático estadunidense no le ha sido difícil detectar esas vulnerabilidades, porque, como dijo el ex secretario de Estado de Woodrow Wilson, Robert Lansing, "dominar a México es extremadamente fácil porque basta con controlar a un solo hombre: el presidente". Labor que han venido desarrollando los emisarios de Washington desde el primer gobierno neoliberal de Miguel de la Madrid hasta el presente, con Enrique Peña, pasando por Carlos Salinas (líder de la facción santannista de lo que Manuel Buendía llamó "neopolkos"), Ernesto Zedillo, Vicente Fox y Felipe Calderón. En abono de lo anterior, y como señaló hace más de dos lustros John Saxe-Fernández en La compra-venta de México, desde 1982 se ha venido generalizando en México el "quintacolumnismo", es decir, una quinta columna integrada por un grupo de poder local colaboracionista, antinacional y entreguista, afín a un anexionismo vertical, subordinado y dependiente de Estados Unidos.
1991. Durante el gobierno salinista, en el marco de la primera guerra del golfo Pérsico, Timothy O’Leary dio a conocer que en una reunión celebrada en Toronto, el 12 de junio de ese año, Los Pinos y la Casa Blanca pactaron que "sin modificar la Constitución mexicana", el petróleo y las operaciones nacionales e internacionales de Pemex entraran en las negociaciones del Tratado de Libre Comercio de América del Norte (TLCAN o NAFTA, por sus siglas en inglés).
1994. Con la entrada en vigor del TLCAN, definido por el ex director de la CIA William Colby como un instrumento importante para "desvanecer" la soberanía mexicana y "reorientar" la función y la existencia misma de México como Estado nación, se profundizó el proceso de "constitucionalización del neoliberalismo disciplinario". Esto es, el ajuste del aparato normativo mexicano con el fin de garantizar "seguridad jurídica" a los inversionistas privados extranjeros, con especial fruición, la desde entonces furtiva, larvada e ilegal contrarreforma a los artículos 27 y 28 de la Constitución en materia energética: electricidad, agua, petróleo, gas natural y otros minerales considerados "críticos y estratégicos" por el Pentágono.
II
Con la entrada en vigor del Tratado de Libre Comercio de América del Norte (TLCAN) en 1994, Estados Unidos y los organismos financieros "internacionales" (BM, FMI, BID, verdaderos perros guardianes al servicio del Departamento del Tesoro y las compañías multinacionales), han venido avanzando sin límite de continuidad en el "cogobierno" o "manejo conjunto" del territorio nacional y sus recursos geoestratégicos. Incluida la privatización "multimodal" de la infraestructura (carreteras, puertos, aeropuertos, vías de ferrocarril, redes de fibra óptica, de electricidad e hidrocarburos), propósito principal del Plan Puebla Panamá (PPP), diseñado durante la administración de Ernesto Zedillo y profundizado con Vicente Fox.
2000-2001. Tras la elección de Fox en julio de 2000, Washington arreció en sus propósitos de transformar el espacio territorial mexicano, de adecuarlo con las nuevas mercancías, a los nuevos negocios y tecnologías. De cuadricularlo, ordenarlo y hacerlo funcional y "productivo".
Durante su campaña electoral, en un debate televisado con Al Gore en octubre de 2000, el entonces gobernador de Texas, George W. Bush, recuperó la idea de Reagan y su padre (George Walker Bush, ex director de la CIA y vicepresidente de los dos mandatos de Reagan, a quien sucedió en 1988) de formar un "mercomún energético de América del Norte". Dijo: "Le hablé (a Fox) de cómo sería mejor apresurar la exploración de gas natural en México y transportarlo a Estados Unidos para que seamos menos dependientes de fuentes externas de petróleo crudo". En febrero de 2001, el experto George Baker, directivo de Mexico Energy Intelligence, planteó que Bush podía ofrecer fondos para convertir a Pemex en la mejor empresa petrolera del mundo. "Por supuesto, tendría que ser una propuesta del presidente Fox, que no corresponde plantear al presidente Bush", dijo Baker. En marzo, Bush no tuvo empacho en afirmar que el gas encontrado en México era "hemisférico" y debía beneficiar a Estados Unidos. Afirmó entonces: "Una buena política energética es aquella que entiende que tenemos energía en nuestro hemisferio y cómo explotarlo mejor y transportarlo a los mercados". Poco antes, con Fox de anfitrión, el secretario de Energía de EU, Spencer Abraham, había logrado introducir en la Declaración de México −suscrita por los ministros de Energía del hemisferio− una frase que abogaba por la "integración energética" del continente. Allí quedó formado un grupo de trabajo trilateral (integrado por Abraham y los ministros del ramo de Canadá y México). "Encontramos que hay dependencia mutua, sin socios minoritarios ni socios mayoritarios", dijo entonces Abraham desafiando la ley que rige la fábula del tiburón y las sardinas.
La idea de crear "redes" o "corredores energéticos" a través de ductos transfronterizos para el intercambio de hidrocarburos, así como la integración eléctrica entre Estados Unidos, Canadá y México, fue retomada en la Cumbre de Quebec (abril de 2001), donde participaron 34 jefes de Estado y de gobierno de América. Uno de los compromisos de la cumbre fue "norteamericanizar los mercados de energía" −ante la deficiencia de Estados Unidos en la materia esgrimida por Bush−, para lo cual se requería "cambiar el marco legislativo y regulatorio" de los países involucrados.
En mayo de 2001, el presidente Bush −principal operativo del cártel petrolero-gasero texano conformado por las trasnacionales Exxon-Mobil, Halliburton, Enron y El Paso Corporation− dio a conocer su plan energético nacional (conocido como Plan Cheney), donde el combustible extranjero pasó a ser el eje del proyecto. En ese esquema, México fue definido como una "fuente primordial" para garantizar la "seguridad energética" de Estados Unidos.
Varios meses antes de los atentados contra las Torres Gemelas, el Grupo para el Desarrollo de una Política Energética Nacional, que elaboró el Plan Cheney, había mostrado un mapa de la República Mexicana que identificaba las cuencas de Burgos, Sabinas y Pedregosas, en el norte de México, frente a Texas (dominios del clan Bush), como las principales reservas de gas no explotado. En esa región, sugería el documento, podría darse una interrelación energética "natural". El grupo recomendó a Bush que instruyera a sus secretarios de Estado y de Energía para que, en consulta con la Comisión Reguladora de Energía, se revisaran los "permisos presidenciales" para la construcción de infraestructura que permita el cruce de petróleo, gas natural y electricidad, y se propongan las reformas a las regulaciones que sean necesarias para hacerlas compatibles con el comercio intrafronterizo.
Cuando en septiembre de 2001 Fox visitó a Bush en Washington, ambos recibieron la propuesta del Consejo Binacional México-Estados Unidos de llevar a cabo, cuanto antes, la integración energética de Norteamérica. El principal destinatario de la solicitud fue Fox: a él le recomendaron aumentar la inversión privada en Pemex; abrir el sector de refinación de crudo al capital extranjero; dividir en varias compañías la red de oleoductos mexicanos y acceder a una pronta integración eléctrica con Estados Unidos. Para todo ello, señalaron, hay opciones: "liberalizando los marcos regulatorios y legales". Es decir, modificando la Constitución mexicana.
2002. El 20 de septiembre de ese año Bush presentó su Estrategia de Seguridad Nacional en la Casa Blanca. Entre las nociones básicas del documento, una decía: "Debe mejorar la seguridad energética (de Estados Unidos). Fortaleceremos nuestra propia seguridad energética y la prosperidad compartida de la economía mundial, colaborando con nuestros aliados, socios comerciales y productores de energía". En buen romance, fue el anuncio estratégico de la Alianza para la Seguridad y la Prosperidad de América del Norte (Aspan), suscrita en Waco, Texas, el 23 de marzo de 2005.
III
Año 2005. Según lo definió entonces la llamada Fuerza de Tarea Independiente (sic) sobre el Futuro de Norteamérica −cuyos copresidentes eran el ex viceprimer ministro de Canadá, John Manley; el ex gobernador de Massachusetts, William Weld y el ex secretario mexicano de Hacienda, Pedro Aspe−, el nuevo "paradigma" en las relaciones de México con Estados Unidos y Canadá ha sido la Alianza para la Seguridad y la Prosperidad de América del Norte (ASPAN).
El "menú" del pacto trilateral, definido entonces por la Casa Blanca con el colaboracionismo de tecnoburócratas gubernamentales, asociaciones empresariales y círculos intelectuales conservadores y entreguistas de Canadá y México, incluyó seis puntos básicos de seguridad: militar, interna, energética, global, social y de acceso al agua dulce. No fue casual que los puntos de la agenda definían los intereses geoestratégicos de Washington; subordinaban el comercio a los asuntos de seguridad definidos en la doctrina Bush de guerra preventiva y lucha contra el "terrorismo", y perseguían una dirección única: la dominación imperial estadunidense en el siglo XXI.
Los objetivos claves del "nuevo acuerdo" −en cuya elaboración participó de manera activa Andrés Rozental Gutman, medio hermano del ex canciller del foxismo Jorge G. Castañeda− fueron desarrollar mecanismos de seguridad marítima, aérea y terrestre que permitieran hacer frente a cualquier "amenaza" en América del Norte; una estrategia energética basada en el incremento de la oferta para satisfacer las "necesidades" de la región (léase Estados Unidos), y facilitar inversiones en infraestructura energética, para las mejoras tecnológicas, la producción y el suministro confiable de energéticos, mejorando la "cooperación" en la materia.
En forma complementaria, un objetivo estratégico de la política petrolera del dúo Bush-Cheney fue persuadir u obligar a México y países productores del golfo Pérsico a que abrieran sus empresas estatales a la inversión multinacional privada. En ese sentido, en Waco, Bush aprovechó la extrema debilidad del presidente Fox y definió la nueva agenda, que los tecnoburócratas locales tratarían de rellenar después con regulaciones, estándares y modificaciones graduales, pequeñas pero sustanciales, de modo de ir "armonizando" la legislación mexicana con los intereses de Washington y las trasnacionales del sector energético.
A su vez, para garantizar "la producción y el suministro confiable de energéticos" en Norteamérica −que comenzaba ya a tomar forma como nuevo espacio geopolítico y geoeconómico−, los estrategas castrenses de Washington impulsaron la idea de un "perímetro exterior de seguridad", lo que colocó a Canadá y México bajo el manto militar nuclear del Comando Estadunidense de Defensa Aeroespacial (conocido como NORAD, por sus siglas en inglés), y su extensión al Comando Norte (creado en 2002), ambos bajo el mando del Pentágono, encargados de proteger de facto los suelos, mares y cielos trinacionales. La anuencia tácita de Fox al plan de seguridad de Bush, colocó desde entonces al territorio mexicano como blanco de cualquier contingencia bélica interimperialista. Pero, además, ese proyecto estadunidense que asumió a México como problema doméstico, incluyó el sellamiento militar del Golfo de México, desde los cabos de la Florida hasta la península de Yucatán, y el corrimiento de la frontera norte al istmo de Tehuantepec para controlar el tránsito de indocumentados mexicanos, centro y sudamericanos, según el diseño original del Plan Puebla-Panamá.
La ASPAN (el TLCAN militarizado), que desde su concreción ha venido funcionando con un "gobierno sombra" de las élites empresariales y militares de Estados Unidos y sus socios menores en Canadá y México, incluyó una integración energética transfronteriza (petróleo, gas natural, electricidad) subordinada a Washington y megaproyectos del capital trasnacional que subsumieron los criterios económicos a los de seguridad, justificando así acciones que de otro modo no podrían ser admitidas por ser violatorias de la soberanía nacional, y una normativa supranacional que hizo a un lado el control legislativo (según la Constitución, el Senado es el encargado de vigilar los acuerdos internacionales suscritos por el Poder Ejecutivo), mientras se impusieron leyes contrainsurgentes que criminalizaron la protesta y la pobreza y globalizaron el disciplinamiento social.
Año 2007. Ya bajo el mandato espurio de Felipe Calderón, la Iniciativa Mérida, anunciada por George W. Bush en Washington el 22 de octubre de 2007, fue diseñada como un paquete de asistencia militar en especie a México por un monto de mil 400 millones de dólares para el trienio 2008-2010. El "nuevo paradigma de cooperación" entre Estados Unidos y México en materia de seguridad estuvo dirigido a hacer frente a "amenazas comunes" asimétricas, mismas que fueron identificadas como organizaciones trasnacionales del crimen organizado, en particular las dedicadas al narcotráfico, el tráfico de armas, las actividades financieras ilícitas, el tráfico de divisas y la trata de personas. Con un dato adicional: la virtual equiparación desde la óptica punitiva estadunidense de tres términos y sus manifestaciones concretas: terroristas, narcotraficantes y migrantes sin documentación válida (indocumentados).
Símil del Plan Colombia, en su parte sustantiva, el millonario paquete de asistencia militar incluyó aviones y helicópteros de combate, barcos, lanchas; armamento y equipo bélico, radares y sofisticados instrumentos para monitoreo aéreo e intervención de comunicaciones; software para análisis de datos asociados a inteligencia financiera, y recursos para sufragar cursos de entrenamiento y asesorías del Pentágono, la CIA, el FBI, la DEA y otros organismos de seguridad estadunidenses a sus contrapartes mexicanas. También incluyó recursos para la instrumentación de reformas judiciales, penales y de procuración de justicia, áreas que de manera paulatina serían homologadas a las de Estados Unidos.
IV
Integrado de facto desde 2002 al "perímetro de seguridad" de Estados Unidos, el territorio de México quedó incluido en la zona bajo control del Comando Norte del Pentágono. A su vez, en el marco de la ASPAN (el TLCAN militarizado, 2005), la Iniciativa Mérida (2007) llevaría a una desnacionalización acelerada del sistema de seguridad interna. Desde entonces, Estados Unidos sería codiseñador de la estrategia de "seguridad nacional" mexicana, lo que, más allá de juegos semánticos, significó una cesión de soberanía.
Definida por el entonces embajador de EE.UU. en México, Antonio Garza, como el "proyecto más agresivo" jamás impulsado por la Casa Blanca en el hemisferio occidental, la Iniciativa Mérida fue diseñada en función de la agenda de seguridad de Washington. Las prioridades de la administración Bush fueron: guerra a las drogas (en el territorio mexicano); guerra al terrorismo (ídem); seguridad fronteriza (en los confines norte y sur de México); control sobre la seguridad pública y las distintas policías de México; penetración de las fuerzas armadas locales (Ejército y Marina de Guerra); construcción de instituciones y reglas de ley similares a las de Estados Unidos (homologación de leyes como parte de la integración silenciosa y subordinada de México).
En ese sentido, las contrarreformas calderonistas fueron parte de la agenda policial-militar-judicial-penal de EE.UU., ya que se encaminaron no sólo a la adopción de facto de medidas similares a las del "Estado de excepción" de la era Bush (Ley Patriota, Comisiones Militares, Ley Marcial), sino que también, vía la pretendida modificación o derogación de la Ley para Conservar la Neutralidad del País, buscaba permitir la proyección del poder militar del Pentágono (aéreo, naval y terrestre, incluyendo las fuerzas especiales), en el territorio nacional y los espacios marítimo y aéreo (lo que luego ocurrió de manera no tan encubierta, drones incluidos), y la creación de bases militares, a la postre denominadas Oficinas Bilaterales de Inteligencia o centros de fusión.
2008. La energía y la política irían de la mano desde comienzos de ese año. En los círculos financieros se afirmó entonces que la privatización de Petróleos Mexicanos (Pemex) estaba próxima. Pero para ello se requerían reformas constitucionales y el presidente Felipe Calderón necesitaba conseguir los votos en el Congreso del Partido Revolucionario Institucional (PRI).
En ese contexto se reveló que Pemex, la mayor empresa paraestatal y principal contribuyente fiscal de México, había establecido convenios de cooperación con cinco multinacionales: la angloholandesa Royal Dutch Shell; Petrobras, de Brasil; Statoil de Holanda; la canadiense Nexen y el gigante petrolero estadunidense Chevron-Texaco. Según autoridades de Pemex, se trataban de convenios "sin carácter comercial" en materia de investigación científica y tecnológica, apegados a los ordenamientos constitucionales y legales vigentes entonces en el país.
Sin embargo, en diciembre anterior La Jornada había denunciado que existía un convenio de carácter confidencial con la Shell, para realizar actividades de exploración en el campo petrolero de Chicontepec, Veracruz, lo que estaba vedado por la Constitución. Entonces se especuló que el llamado Proyecto Margarita permitiría posicionar a la empresa angloholandesa en el país, ante una eventual eliminación de las restricciones constitucionales a la inversión privada en el sector energético.
Pemex clasificó como "información confidencial" los resultados derivados de los acuerdos suscritos con esas cinco compañías, y asumió el compromiso de ocultar los datos al Instituto Federal de Acceso a la Información y Protección de Datos (Ifai). Si Pemex rompía la reserva de los convenios debería pagar una indemnización de 500 mil dólares por evento. Y en caso de una controversia entre ambas partes, ésta se tendría que dirimir en las cortes internacionales de conformidad con el reglamento de arbitraje de la Cámara Internacional de Comercio, con sede en París, Francia.
Calderón dijo que Pemex no se privatizaría, lo que a todas luces fue una actitud demagógica, ya que en 2003, siendo ministro de Energía en el gabinete de Vicente Fox, había abogado por la apertura al capital privado de la Compañía Federal de Electricidad (CFE), mediante adecuaciones al texto de los artículos 27 y 28 constitucionales, con el fin de otorgar "certidumbre jurídica" a los inversionistas extranjeros. Ahora sólo era cuestión de cambiar sector "eléctrico" por "energético".
No era secreto que los distintos gobiernos neoliberales habían venido suscribiendo acuerdos inconfesables con empresas internacionales como el firmado con Shell. Entre los trucos semánticos que intentaban ocultar la privatización por partes de Pemex al margen de la Constitución, se había llegado a hablar de "acuerdos verbales", alianzas "sin documento alguno", convenios de "colaboración" y "pactos sin carácter comercial."
El 4 de marzo, en horario estelar, el gobierno de Calderón puso en marcha una millonaria estrategia propagandística televisiva dirigida a convencer a la población sobre la necesidad de que Pemex se asociara con empresas privadas, nacionales y extranjeras, para explorar "un tesoro escondido" a 3 mil metros de profundidad en el golfo de México. En lo que fue descrito como un doble juego gubernamental para abrir el sector de los energéticos al capital privado, se reveló la existencia de dos versiones del espot oficial: en el portal de YouTube, el promocional, que incluía gráficas satelitales e imágenes en tercera dimensión, hablaba de "alianzas" estratégicas con empresas privadas para la exploración en aguas profundas; pero esa palabra fue mutilada en la televisión abierta, lo que constituyó una manipulación intencional para ocultar que la iniciativa era en pro de una "alianza estratégica" o de "cuates", de la administración Calderón con los tiburones del sector energético trasnacional.
www.jornada.unam.mx/2013/11/25/opinion/021a1pol
www.jornada.unam.mx/2013/12/09/opinion/027a1pol
Représentation exceptionnelle en présence des élèves de l'Ecole du Nord.
Mise en scène et adaptation David Bobée, texte Henrik Ibsen.
Déc.2021 - Théâtre du Nord/Lille
©Kalimba
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~ Author Unknown
memories, memories, memories...
from near my car park...
Thanks for stopping by
and God Bless,
hugs, Chris
Prefeitos e vereadores de MS e representantes da Assomasul em reunião no Ministério do Planejamento e Orçamento com a ministra Simone Tebet.
Participantes:
Dalmy Crisostomo da Silva - Prefeito de Alcinópolis/MS;
Edison Cassuci Ferreira - Prefeito de Angélica/MS;
Agnaldo Marcelo da Silva Oliveira- Prefeito de Antônio João/MS;
Jose Natan de Paula Dias – Prefeito de Aparecida Do Taboado/MS;
Alexandrino Arévalo Garcia - Prefeito de Aral Moreira/MS;
Edervan Gustavo Sprotte – Prefeito de Bandeirantes/MS;
Germino da Roz Silva - Prefeito de Batayporã/MS;
Reinaldo Miranda Benites - Prefeito de Bela Vista/MS;
Josmail Rodrigues - Prefeito de Bonito/MS;
Manoel Eugenio Nery - Prefeito de Camapuã/MS;
João Carlos Krug - Prefeito Chapadão Do Sul/MS;
Cleverson Alves dos Santos - Prefeito de Costa Rica/MS;
Edilson Magro - Prefeito de Coxim/MS;
Jean Sergio Clavisso Fogaça – Prefeito de Douradina/MS;
Alan Aquino Guedes De Mendonça - Prefeito de Dourados/MS;
Thales Henrique Tomazelli – Prefeito de Itaquiraí/MS;
Juliano Barros Donato – Prefeito de Ivinhema/MS;
Paulo Cesar Franjotti – Prefeito de Japorã/MS;
Jose Marcos Calderan- Prefeito de Maracaju/MS;
Fabio Santos Florença- Prefeito de Miranda/MS;
Rahiza Rejane Neme – Prefeita de Naviraí/MS;
Valdir Couto de Souza Junior - Prefeito de Nioaque/MS;
Jose Gilberto Garcia – Prefeito de Nova Andradina/MS;
Aldenir Barbosa do Nascimento – Prefeito de Novo Horizonte do Sul/MS;
Anizio Sobrinho de Andrade - Prefeito de Paraíso Das Águas/MS;
Maycol Henrique Queiroz Andrade – Prefeito de Paranaíba/MS;
Donizete Aparecido Viaro – Prefeito de Paranhos/MS;
William Luiz Fontoura - Prefeito de Pedro Gomes/MS
Eduardo Esgaib - Prefeito de Ponta Porã/MS;
Francisco de Paula Ribeiro Júnior – Prefeito de Rochedo/MS;
Lucio Roberto Calixto Costa – Prefeito de Santa Rita do Pardo/MS;
Jeferson Luiz Tomazoni - Prefeito de São Gabriel do Oeste/MS
Jose Fernando Barbosa dos Santos – Prefeito de Selvíria/MS;
Vanda Cristina Camilo - Prefeita de Sidrolândia/MS;
Enelto Ramos Da Silva – Prefeito de Sonora/MS
Clovis Jose Do Nascimento – Prefeito de Taquarussu/MS;
Henrique Wancura Budke – Prefeito de Terenos/MS;
Angelo Chaves Guerreiro – Prefeito de Três Lagoas/MS;
Sivaldo Moreira Da Silva – Assessor do Sr. Antônio João;
Vera Cruz – Primeira-Dama da Aral Moreira;
Cacildo Dias Paiao – Assessor da Bataypora;
Marcus Vinicios Silva Souza- Imprensa Dourados;
Victor Hugo E Jose Wilson – Assessor Ivinhema;
Walter Jose da Silva – Assessor Japorã/MS;
Michel Freddi- Assessor Miranda;
Cleber Valiente - Assessor Paranhos;
Donizete Viaro Filho (Filho) - Assessor Paranhos;
Marcos Augusto de Souza – Assessor Três Lagoas;
Rogério Rosalin - Diretor Assomasul;
Mariana Garrido – Assessora Assomasul;
Deliane Santos- Assessora Assomasul;
Edson Ribeiro - Imprensa Assomasul;
Guilherme Azambuja - Assessor Assomasul;
Fernando Jarzon - Imprensa Assomasul;
Roberto Dias Silva - Vereador Douradina;
Francisco Assis H. - Vereador Douradina;
Gercindo da Silva Goes - Vereador Douradina;
Marcelo Quevedo Pedro - Vereador Douradina;
Kaique Freire Reis - Vereador Douradina;
Lúcio Flavio Raulino Silva – Vereador Douradina;
Jose Nivalcir Pinto Lima Vereador - Douradina;
Anielle de Souza Ferreira Santi - Assessora de Sidrolândia/MS.
FOTOS: EDU ANDRADE/Ascom/MPO
#3750 and #1361 both represent the K4s class late in their careers. Both engines are virtually identical with the exception of their tenders. #3750 is equiped with a PRR 110P75a class tender while #1361 is equiped with a PRR 130P75 class.
These two LEGO models of Pennsylvania RR class K4s #3750 and #1361 are perhaps my most ambitious project to date. I've spent months researching and studying the K4s in order to make the most accurate and detailed engine I've built. The boiler design was inspired by my friend and fellow train builder in PennLUG, Nate Brill. What has turned out to be the most difficult part of building these models is the working Walschaerts Valve Gear. My goal was to try and build working valve gear with out modifying any parts, and to keep it as small and proportionate to the rest of the locomotive as possible. This required several weeks of trial and error but I'm reasonably happy with the final result.
Video of my K4s #1361 running at BrickMagic 2012 taken by Bob Hayes
The Pennsylvania RR's K4 class Pacifics were one of the cornerstones of their passenger service for 41 years from when the first engine entered service in 1916 through the final active K4's retirement 1957. The K4's performed their duties with a superb combination of speed, power and grace. K4's pulled the fastest and most prestigious trains of the Pennsylvania Railroad for many decades, with 425 being built between 1914 and 1928 by both Baldwin Locomotive Works and through Pennsy's own Juniata Shops in Altoona. In the mid 1930s, as the passenger consists grew longer and heavier, Pennsy would double and even triple head the K4s. The K4s class has become an icon of the Pennsylvania RR.
There are only two surviving K4s class locomotives, #1361 and #3750. Number 3750 is on display at the Railroad Museum of Pennsylvania in Strasburg. # 3750 was a typical workhorse, with only two unusual events in its long and productive life.The first came early in its lifewhen it pulled President Harding's funeral train.
The second was more unusual. After its retirement from active service in 1957, it remained in storage, first at West Philadelphia enginehouse, then at Northumberland, along with other historic equipment that was destined to become the core of the Museum's holdings. However, the Pennsylvania Railroad, apparently chagrined that the first K4 ever built, #1737, had been scrapped because it was worn out, and decided to "undo" history by placing #1737's number plates onto #3750. #3750 in its masquerade avoided being sent to the scrapper's torch along with hundreds of other K4 locomotives.
Upon the PRR's historic collection being acquired by the newly commissioned Railroad Museum of Pennsylvania it arrived at the Museum along with other historic equipment in 1968 as a "ringer" for No. 1737. This was rectified when the newly formed Friends of the Railroad Museum performed the first of several laborious restorations of this beloved locomotive in the 1980s. Subsequently, the true No. 3750 plates were obtained, and this wonderful locomotive is now secure for future generations to admire.
Number 1361's fame came after her retirement in 1957. For nearly 30 years, #1361 stood on display at the top of the world-famous Horseshoe Curve In Altoona PA. In 1985, the City of Altoona, Conrail, and the Railroaders Memorial Museum made arrangements to move the locomotive from the Horseshoe Curve to the Museum. The engine was moved to Altoona on September 5, 1985, and work to restore the locomotive began in April of 1986. With the help of teams of volunteers, #1361 was restored to working order in just one year's time. In April 1987, #1361 pulled its first passenger train in over thirty years. In May 1987, Altoona City and Conrail named the steam locomotive the "Spirit of Altoona". The engine later encountered extensive problems of age and wear, requiring major rebuilding. #1361 is under ownership of the Railroaders Memorial Museum at Altoona who is currently working to restore the engine to operation once more.
Governor Robert Casey signed a bill proclaiming the K-4 to be Pennsylvania's Official State Steam Locomotive in March of 1988.
#3750 at the Railroad Museum of Pennsylvania in Strasburg PA
Monument by Westmacott - Flanked by Charity & an angel representing Hope, Brownlow Bertie 5th and last Duke of Ancaster kneels mourning his 2 wives
"In the opposite vault lie the remains of the most noble Brownlow Bertie, 5th and last Duke of Ancaster and Kesteven, Marquis and Earl of Lindsey, Lord Lieutenant and Custos Rotuloram of the county of Lincoln and city of Lincoln and county of the same, and Recorder of the Borough of Boston.
He had represented the county of Lincoln in several parliaments.
He departed this life at Grimsthorpe Castle on the 8th of February 1809 in the 79th year of his age
His first wife was Harriet daughter of George Morton Pitt esquire, she died in April 1763
His second was Mary Ann daughter of Major Layard who died on the 18th of January 1804 leaving an only daughter
Mary Elizabeth married to Thomas Charles Colyear, Viscount Milsington. She died on the 10th of February 1797 leaving an only child
Brownlow Charles Colyear who died at Rome on the 18th of February 1810 in the 23rd year of his age and was interred at Weybridge in Surrey"
Brownlow b1729 was the son of Peregrine Bertie, 2nd Duke of Ancaster www.flickr.com/gp/52219527@N00/6myFo9 by Jane 1736 www.flickr.com/gp/52219527@N00/2KX63X co-heiress of Sir John Brownlow, 3rd Bart of Belton & Alice daughter of Richard Sherard
He was the younger brother of Peregrine Bertie, 3rd Duke and uncle of Robert Bertie, 4th Duke who died of scarlet fever aged 22 www.flickr.com/gp/52219527@N00/j17R8b from whom he inherited the title.
He m1 1762 Harriot Pitt 1745-dsp1763 sole heiress of George Morton Pitt 1756 by Sophia Drake daughter of Charles Bugden of Fort St George, whose Twickenham estate went to his wife's daughter by her prior marriage to George Francis Drake, councillor and merchant of Madras, who m Sir George Pocock 1792
He m2 1769 Mary Anne 1733-1804 daughter of Major Peter Layard of Sutton Friars, Canterbury by Mary Anne co-heiress of Captain James Croze, having 1 daughter
Mary Elizabeth Bertie 1771-1797 who m 1793 (1st wife) Thomas Charles Colyear, 4th Earl of Portmore, her son Brownlow-Charles Colyear inherited much property from his ducal grandfather but died in 1819 before he could inherit his father's titles (her husband Thomas Charles Colyer m2 1828 Frances youngest daughter of William Murrells, and having no issue his title became extinct on his death in 1835).
The dukedom and the marquessate also became extinct on the death of Brownlow, while the earldom passed to his kinsman Albemarle Bertie.
- Church of St Mary Swinstead Lincolnshire
My daughter playing for the Canadian National Handball Team vs the USA National Team in the first of a two game series. Katya played very well in her first Senior International competition.
Canada lost to the USA 22-20 in Auburn, Alabama.
The two teams will play again in Montreal in two days time, a must win for Canada.
© 2018 Paul Chan - Canada. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
"If you are cold, tea will warm you; If you are too heated, it will cool you; If you are depressed, it will cheer you; If you are excited, it will calm you"
El representante de Comercio de EEUU, Michael Froman, está en La Habana, y
se reunión con el ministro de Comercio Exterior y la Inversión Extranjera,
Rodrigo Malmierca. Foto: Ismael Francisco/ Cubadebate
This piece represents an interesting confluence of ideas. On one hand, it's an extenstion of my previous piece, and includes Christine's ideas and radial corrugations, isolated into a tessellable form. On the other hand, it's a sort of protruding tower kind of model, along the lines of the boxpleating models I was doing earlier... I'm trying to bring that idea into these geometric pieces as well; that is, I'm trying to bring things up out of the 2d tessellation plane, while still keeping them attatched to said plane.
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
La ofrenda suele ser una gran tradición en México. Dependiendo de su tamaño se utiliza una repisa, consola, mesa o inclusive una habitación; utilizando como base cajas de madera, sillas, mesas, pacas, ladrillos, etc.
Los niveles
Representan los estratos de la existencia, variando en cada región y la idiosincrasia
•Altares de dos niveles: representan el cielo, y la tierra.
•Altares de tres niveles: representan el cielo, el purgatorio y la tierra. también puede representar el cielo, la tierra y el inframundo, según la tradición azteca; y las tres divinas personas según la tradicion católica. También representan el cielo, el purgatorio y el infierno
•Altares de siete niveles: representan los siete niveles para llegar al cielo, al purgatorio o al infierno según la tradición católica..
la ofrenda depende del estado en que se coloque y/o municipio ya que cada uno tiene sus costumbres y modos o formas en la que se puede colocar. los altares de 7 niveles representan los pasos que hay que dar para dar a los 7 cielos en el entonces en que se creia que existe
La imagen del difunto
Se coloca una imagen, pintura o fotografía del difunto al que se honra en la parte más alta y destacada del altar. Según la religión o idiosincrasia, también se colocan los retratos de espalda y frente a ellos un espejo, para que así el difunto sólo pueda ver el reflejo de su deudo y el deudo vea el reflejo de su difunto, simbolizando la pertenecía de ambos los dos.
La cruz
En todo el altar se colocan simbolismos referentes a la cruz, la cual es elemento agregado por los evangelizadores españoles con el fin de incorporar el catolicismo entre los naturales y en tradición tan arraigada como era la veneración de los muertos. Una cruz se coloca en la parte superior del altar a un lado de la imagen del difunto. Se coloca una cruz pequeña de sal en el altar que sirve como medio de purificación de los espíritus, y una cruz de ceniza que le ayudará al espíritu a salir del purgatorio. También se usan
Imagen de las ánimas del purgatorio
La Imagen de las ánimas del purgatorio se coloca para facilitar la salida del espíritu, en caso de que se encontrara en el purgatorio. Según la teología católica quienes han muerto habiendo cometido pecados veniales sin confesar, pero sin haber cometido pecado mortal, deberá expiar sus culpas en el purgatorio.
Copal e incienso
El copal es un elemento prehispánico que limpia y purifica las energías de un lugar y de las personas que lo utilizan, se coloca en un brasero y purifica el ambiente para los espíritus esperados. El incienso es un elemento colombino que al igual que el copal purifica y santifica el ambiente, quemándose en un incensario. se pone en el ultimo nivel del altar para guiar al difunto en su regreso a la tierra.
Arco
El arco o marco adornado que se ubica en la cúspide del altar simbolizando la entrada al mundo de los muertos. Adornados también con limonarias y flores de cempasuchil.
Papel picado
El papel picado es una representación de la alegría festiva del día de muertos y del viento.
Velas, veladoras y cirios del altar
Las velas, veladoras y cirios sirven como luz guía a este mundo. Por tradición se colocan velas, veladoras y cirios de color morado (símbolo de duelo) y blancas (símbolo de pureza). Cuatro cirios se colocan en alusión de los puntos cardinales. Las veladoras se extienden a modo de sendero para llegar al altar. Las velas y demás veladoras se colocan sobre candeleros morados repartidas en todo el altar siempre en un número par. Las velas, veladoras y cirios con luz son la clara representación del fuego.
El agua
El agua es de suma importancia y tiene múltiples significados. Refleja la pureza de las almas, es reflejo del ciclo continuo de la regeneración de la vida y la muerte y promesa de fertilidad en la vida y en la siembra. Se coloca un vaso de agua fresca para que el espíritu refresque sus labios y mitigue su sed después del viaje desde el mundo de los muertos. A la vez se coloca un aguamanil o jícara con agua, junto a un jabón, una toalla y un espejo para el aseo personal de los muertos.
Las flores
Las flores fungen como ornato en todo altar y sepulcro. La flor de cempasuchil es uno de los elementos más importantes de los altares, además de ornato la tradición indica que su aroma sirve de guía a los espíritus en este mundo.
Las calaveras
Las calaveras son alusiones a la muerte que siempre esta presente. Son coloridas calaveras de azúcar, barro, chocolate y yeso con adornos de colores, de fuerte influencia barroca, les gusta por su rico sabor y olor.
Comida
Se prepara puro chocolate oscuro en la mesa principal y se coloca comida al agrado de los fallecidos, se cocinan desde días antes los platillos tradicionales como: tamales, mole, arroz, calabaza en tacha, etc. para que los muertos puedan disfrutar de su esencia. La comida no es únicamente para el alma visitante, sino para los deudos, quienes festejaran con ella y algun visitante ireconosible.
El pan
El pan representa la generosidad del anfitrión, y el regalo de la tierra misma. Existen múltiples variantes en su elaboración, como lo son los panes en forma de “muertitos” de Pátzcuaro y de la selva potosina y en el centro de México se acostumbra el pan de anís en forma de domo redondo, adornado con forma de huesos en alusión a la cruz y espolvoreado de azúcar.
Bebidas alcohólicas
Algunos altares contienen bebidas alcohólicas como jarritos con tequila, vasos con trago o agua que le gustaban al difunto.
Objetos personales
Los objetos personales son artículos pertenecientes en vida a los difuntos y se colocan en el altar para que el espíritu pueda recordar momentos de su vida. En el caso de que el difunto sea el espíritu de un niño suelen colocarse juguetes en el altar.
Los adornos
Infinidad de adornos alusivos a la muerte han surgido del arte popular mexicano y se han agregado al altar de muertos. Figuras con cuadros de entierros, velorios o cementerios, o representando escenas de la vida cotidiana con esqueletos como personajes realizados en figuras de alfeñique, cartonería, madera, barro o yeso, son típicos de la fecha, así mismo como hermosos arreglos frutales o florales.
También en muchos altares se incluyen cadenas elaboradas con papel crepé, de color morado y amarillo, un eslabón de cada color, alternandos. El morado representa la muerte y el amarillo la vida, por lo que con este adorno queda representada la delgada línea existente entre la vida y la muerte.
Festejo
Comienza cuando una persona de la casa enciende las velas del altar susurrando los nombres de los difuntos, se reza pidiendo el favor de Dios para que lleguen con bien, los familiares se sientan a la mesa y comparten la comida preparada para el festín, escuchando música del agrado, se habla sobre las novedades de la familia, se recuerdan anécdotas del difunto y se pide por la intercesión del difunto a Dios.
El festejo es un reencuentro, aunque breve, feliz, con la promesa de alcanzarlos en el más allá, llegado el momento.
Al termino se apagan las veladoras y se despide al los espíritus, deseándoles buen viaje de regreso al más allá y pidiéndoles que retornen el próximo año
Representing Denmark, Sweden, and Norway, parts of the SAS fleet are registered in each country. "Adalstein Viking" carries a Danish registration, and was delivered new to SAS in November 2001.
Cette photo représente un pavillon, maintenant agrandi, situé dans le quartier de Voisins à Louveciennes (celui de gauche appartenant au parc du château de Voisins). A sa gauche, le petit pont qui y conduit avec sa rampe de pierre surplombe les canalisations souterraines conduisant l'eau de la Seine de la Machine de Marly à l'aqueduc voisin.
Cette vue a fait l'objet de deux tableaux, l'un de Pissarro (PDRS 227, cf. ci-dessous), peint en 1872 à partir du chemin de la Machine, en direction de la place de la Fonderie (actuelle place Ernest Dreux), où une silhouette de femme s'avance vers le peintre depuis un petit pont, avec une maison à la couleur orangée, contrastant sur un fond de ciel bleu. L'autre, assez proche, fut composé par Sisley (D 104, cf. ci-dessous), l'année suivante et sous la neige (cf. wikipédia, merci à Patrice pour la photo) :
www.flickr.com/photos/7208148@N02/45743255525/in/datepost...
www.flickr.com/photos/7208148@N02/31699625717/in/datepost...
Transport Navigators and Flight Engineers Squadron exercise
Photo by: Celia Garion
טיסת אימון של צוערי מגמת נווטי תובלה ומכוננים
צילום: סליה גריון
Just a quick bit of photoshop. the model is stock photography by Dazzle-stock on deviant art.
you will know who this girl is if you have read The House of Night series by P.c and Kristen Cast.
i have zoey standing on water, because she has an affinity for it. because she is a vampyre, it is at night and the moon is out, representing spirit. she also has affinities for fire, earth and air, but im not sure ho i'd represent that in one photo. oh well :)
what do you think?
this was done on photoshop.
What a throwback! Barely 18 yrs old with No idea that these many years later I'd still be representing India.. #blessed #grateful #What, #Throwback, #Barely, #Yrs, #Old, #With, #Idea, #That, #These, #Many, #Years, #Later, #Still, #Representing, #India, #Blessed, #Grateful #Contfeed
Check out here >> cofd.co/w1inq
Le décor en grès de la façade principale (House for an Art Lover) représente les deux gardiennes de la Maison qui sont face à face et qui entourent des motifs végétaux (arbres de vie). Ces femmes et ces arbres stylisés se retrouvent sous des formes voisines dans les différentes pièces de la Maison.
La façade principale, apparemment simple, est structurée par un immense balcon, sur lequel donne le salon de musique via six portes-fenêtres, et par des bas-reliefs en grès, d'inspiration art nouveau, représentant des arbres stylisés et au centre les gardiennes de la Maison autour d'un arbre de vie. La façade est percée de nombreuses fenêtres, de dimensions différentes mais dont l'unité de base reste le carré, un motif qui est constamment présent dans l'oeuvre de Mackintosh. Ces ouvertures sont placées de manière asymétrique pour que le rythme spatial créé brise la monotonie de la surface.
La "Maison pour un amateur d'art" a été reconstituée, à partir des dessins et des plans de l'architecte, peintre et designer Charles Rennie Mackintosh. Construite dans le parc Bellahouston, elle fait partie de l'offre culturelle de la ville de Glasgow en hommage au fondateur du "Glasgow Style" et à son épouse, artiste également : Margaret Macdonald.
En 1901, Charles Rennie Mackintosh a participé à un concours lancé par un magazine de design allemand : Innendekoration pour la création d'une maison destinée à un amateur d'art. Aucune contrainte n'était imposée et les artistes ont ainsi pu s'exprimer librement.
Mackintosh a été disqualifié car il n'avait pas fourni à temps le nombre de dessins attendus mais sa proposition artistique, à laquelle a contribué son épouse, a été considérée comme un chef-d'oeuvre. Les dessins ont été publiés l'année suivante mais la maison qui constitue la synthèse du "Glasgow Style" n'a pas été construite du vivant de son créateur.
Dans les années 80, un ingénieur de Glasgow G. Roxburgh et un architecte : Andy MacMillan ont eu l'idée de la construire en respectant scrupuleusement le projet initial. Après plusieurs années de recherche de financement et de travaux associant de nombreux artisans, artistes et enseignants de l'Ecole d'art de Glasgow (Glasgow School of Art), la maison a été ouverte au public en 1996 dans le parc municipal Bellahouston. Elle est visitable et accueille de nombreuses manifestations publiques et privées dont des mariages comme au moment où nous l'avons visitée.
Artist Salwa Zeida, the artist-ambasador for Lebanon, joins the WPMP collaboration at the Call for Peace event in Istanbul.
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.
Manufactura Musica @ Represent Festival Balingen 2018
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The Battle of Britain Memorial Flight (BBMF) Lancaster PA474 painted to represent Lancaster DV385 ‘Thumper Mk III’ pictured during RIAT 2014, Fairford UK (picture 1016-2).
PA474 is one of only two Lancaster aircraft remaining in airworthy condition out of the 7,377 that were built (the other is in Canada with the Canadian Warplane Heritage Museum at Hamilton, Ontario). PA474 rolled off the production line at the Vickers Armstrong Broughton factory at Hawarden Airfield, Chester on 31 May 1945, just after the war in Europe came to an end, so she was prepared for use against the Japanese as part of the ‘Tiger Force’. However, the war in the Far East also ended before she was deployed and she did not take part in any hostilities. After a period in storage, PA474 was converted for photo reconnaissance work; modifications for these duties included being stripped back to a bare metal (silver) finish and the removal of all her gun turrets. She was then assigned to aerial survey duties with No 82 Squadron in East and South Africa from September 1948 until February 1952.
PA474 is currently painted to represent Lancaster DV385, “Thumper Mk III” of 617 (‘Dambuster’) Squadron, with the code letters ‘KC-A’. This aircraft was one of the brand-new standard Lancasters issued to 617 Squadron as replacements after the ‘Dams Raid’ in 1943. It was delivered to the Squadron in November 1943, whilst the unit was based at Coningsby, and it flew 4 ‘ops’ from Coningsby before 617 Squadron moved to Woodhall Spa in January 1944. The “Thumper” nose art features the cartoon rabbit – from the 1942 Walt Disney cartoon ‘Bambi’ – holding a foaming pint of beer. Although the real “Thumper Mk III” flew a total of 50 ‘ops’, the ‘bomb log’ under the cockpit on PA474 displays 35 ‘ops’ as shown in a wartime photograph. The bomb symbols include one with a ‘D’ for Operation ‘Taxable’ (the ‘spoof’ D-Day chaff mission on 5/6th June 1944) and one with a swastika denoting a kill against a German fighter. “Thumper Mk III” dropped a total of 15 of the huge ‘Tallboy’ ‘earthquake’ bombs; it was involved in many important missions, including the first ‘Tallboy’ raid against the Saumur railway tunnel on 8th June 1944 and many raids against ‘V’ weapon sites. Between February and August 1944, the aircraft was mostly flown by Flying Officer (later Flight Lieutenant) Bob Knights DSO DFC and his crew.
Source: www.raf.mod.uk/bbmf/theaircraft
Two galaxy clusters collide in this combined image. The red is hot gas recorded by the Chandra X-ray Observatory, and the blue represents invisible “dark matter” whose presence is inferred from gravitational effects seen by Hubble. Notice the separation between the dark matter particles, which pass through one another, and the hot regular gas that collided and formed a bow shock. Dark matter is the second-most abundant form of energy in the universe, and we see here how it is different from ordinary matter. Learn more
Mandala (Sanskrit Maṇḍala, 'circle') is a spiritual and ritual symbol in Indian religions, representing the universe. The basic form of most mandalas is a square with four gates containing a circle with a center point. Each gate is in the general shape of a T. Mandalas often exhibit radial balance.
The term appears in the Rigveda as the name of the sections of the work, but is also used in other religions and philosophies, particularly Buddhism.
In various spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing a sacred space, and as an aid to meditation and trance induction.
In common use, mandala has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.
HINDUISM
RELIGIOUS MEANING
A yantra is a two- or three-dimensional geometric composition used in sadhanas, puja or meditative rituals. It is considered to represent the abode of the deity. Each yantra is unique and calls the deity into the presence of the practitioner through the elaborate symbolic geometric designs. According to one scholar, "Yantras function as revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human experience"
Many situate yantras as central focus points for Hindu tantric practice. Yantras are not representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in the Tantras between the outer world (the macrocosm) and man’s inner world (the microcosm), every symbol in a yantra is ambivalently resonant in inner–outer synthesis, and is associated with the subtle body and aspects of human consciousness.
POLITICAL MEANING
The "Rajamandala" (or "Raja-mandala"; circle of states) was formulated by the Indian author Kautilya in his work on politics, the Arthashastra (written between 4th century BC and 2nd century AD). It describes circles of friendly and enemy states surrounding the king's state.
In historical, social and political sense, the term "mandala" is also employed to denote traditional Southeast Asian political formations (such as federation of kingdoms or vassalized states). It was adopted by 20th century Western historians from ancient Indian political discourse as a means of avoiding the term 'state' in the conventional sense. Not only did Southeast Asian polities not conform to Chinese and European views of a territorially defined state with fixed borders and a bureaucratic apparatus, but they diverged considerably in the opposite direction: the polity was defined by its centre rather than its boundaries, and it could be composed of numerous other tributary polities without undergoing administrative integration. Empires such as Bagan, Ayutthaya, Champa, Khmer, Srivijaya and Majapahit are known as "mandala" in this sense.
BUDDISM
EARLY AND THERAVADA BUDDHISM
The mandala can be found in the form of the Stupa and in the Atanatiya Sutta in the Digha Nikaya, part of the Pali Canon. This text is frequently chanted.
TIBETAN VAJRAYANA
In the Tibetan branch of Vajrayana Buddhism, mandalas have been developed into sandpainting. They are also a key part of Anuttarayoga Tantra meditation practices.
VISUALISATION OF VAJRAYANA TEACHINGS
The mandala can be shown to represent in visual form the core essence of the Vajrayana teachings. The mind is "a microcosm representing various divine powers at work in the universe." The mandala represents the nature of the Pure Land, Enlightened mind.
While on the one hand, the mandala is regarded as a place separated and protected from the ever-changing and impure outer world of samsara, and is thus seen as a "Buddhafield" or a place of Nirvana and peace, the view of Vajrayana Buddhism sees the greatest protection from samsara being the power to see samsaric confusion as the "shadow" of purity (which then points towards it).
MOUNT MERU
A mandala can also represent the entire universe, which is traditionally depicted with Mount Meru as the axis mundi in the center, surrounded by the continents.
WISDOM AND IMPERMANENCE
In the mandala, the outer circle of fire usually symbolises wisdom. The ring of eight charnel grounds represents the Buddhist exhortation to be always mindful of death, and the impermanence with which samsara is suffused: "such locations were utilized in order to confront and to realize the transient nature of life." Described elsewhere: "within a flaming rainbow nimbus and encircled by a black ring of dorjes, the major outer ring depicts the eight great charnel grounds, to emphasize the dangerous nature of human life." Inside these rings lie the walls of the mandala palace itself, specifically a place populated by deities and Buddhas.
FIVE BUDDHAS
One well-known type of mandala is the mandala of the "Five Buddhas", archetypal Buddha forms embodying various aspects of enlightenment. Such Buddhas are depicted depending on the school of Buddhism, and even the specific purpose of the mandala. A common mandala of this type is that of the Five Wisdom Buddhas (a.k.a. Five Jinas), the Buddhas Vairocana, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi. When paired with another mandala depicting the Five Wisdom Kings, this forms the Mandala of the Two Realms.
PRACTICE
Mandalas are commonly used by tantric Buddhists as an aid to meditation.
The mandala is "a support for the meditating person", something to be repeatedly contemplated to the point of saturation, such that the image of the mandala becomes fully internalised in even the minutest detail and can then be summoned and contemplated at will as a clear and vivid visualized image. With every mandala comes what Tucci calls "its associated liturgy [...] contained in texts known as tantras", instructing practitioners on how the mandala should be drawn, built and visualised, and indicating the mantras to be recited during its ritual use.
By visualizing "pure lands", one learns to understand experience itself as pure, and as the abode of enlightenment. The protection that we need, in this view, is from our own minds, as much as from external sources of confusion. In many tantric mandalas, this aspect of separation and protection from the outer samsaric world is depicted by "the four outer circles: the purifying fire of wisdom, the vajra circle, the circle with the eight tombs, the lotus circle." The ring of vajras forms a connected fence-like arrangement running around the perimeter of the outer mandala circle.
As a meditation on impermanence (a central teaching of Buddhism), after days or weeks of creating the intricate pattern of a sand mandala, the sand is brushed together into a pile and spilled into a body of running water to spread the blessings of the mandala.
Kværne in his extended discussion of sahaja, discusses the relationship of sadhana interiority and exteriority in relation to mandala thus:
...external ritual and internal sadhana form an indistinguishable whole, and this unity finds its most pregnant expression in the form of the mandala, the sacred enclosure consisting of concentric squares and circles drawn on the ground and representing that adamant plane of being on which the aspirant to Buddha hood wishes to establish himself. The unfolding of the tantric ritual depends on the mandala; and where a material mandala is not employed, the adept proceeds to construct one mentally in the course of his meditation."
OFFERINGS
A "mandala offering" in Tibetan Buddhism is a symbolic offering of the entire universe. Every intricate detail of these mandalas is fixed in the tradition and has specific symbolic meanings, often on more than one level.
Whereas the above mandala represents the pure surroundings of a Buddha, this mandala represents the universe. This type of mandala is used for the mandala-offerings, during which one symbolically offers the universe to the Buddhas or to one's teacher. Within Vajrayana practice, 100,000 of these mandala offerings (to create merit) can be part of the preliminary practices before a student even begins actual tantric practices. This mandala is generally structured according to the model of the universe as taught in a Buddhist classic text the Abhidharma-kośa, with Mount Meru at the centre, surrounded by the continents, oceans and mountains, etc.
SHINGON BUDDHISM
One Japanese branch of Mahayana Buddhism -- Shingon Buddhism - makes frequent use of mandalas in its rituals as well, though the actual mandalas differ. When Shingon's founder, Kukai, returned from his training in China, he brought back two mandalas that became central to Shingon ritual: the Mandala of the Womb Realm and the Mandala of the Diamond Realm.
These two mandalas are engaged in the abhiseka initiation rituals for new Shingon students, more commonly known as the Kechien Kanjō (結縁灌頂). A common feature of this ritual is to blindfold the new initiate and to have them throw a flower upon either mandala. Where the flower lands assists in the determination of which tutelary deity the initiate should follow.
Sand mandalas, as found in Tibetan Buddhism, are not practiced in Shingon Buddhism.
NICHIREN BUDDHISM
The Mandala in Nichiren Buddhism is called a moji-mandala (文字曼陀羅) and is a paper hanging scroll or wooden tablet whose inscription consists of Chinese characters and medieval-Sanskrit script representing elements of the Buddha's enlightenment, protective Buddhist deities, and certain Buddhist concepts. Called the Gohonzon, it was originally inscribed by Nichiren, the founder of this branch of Japanese Buddhism, during the late 13th Century. The Gohonzon is the primary object of veneration in some Nichiren schools and the only one in others, which consider it to be the supreme object of worship as the embodiment of the supreme Dharma and Nichiren's inner enlightenment. The seven characters Nam Myoho Renge Kyo, considered to be the name of the supreme Dharma, as well as the invocation that believers chant, are written down the center of all Nichiren-sect Gohonzons, whose appearance may otherwise vary depending on the particular school and other factors.
PURE LAND BUDDHISM
Mandalas have sometimes been used in Pure Land Buddhism to graphically represent Pure Lands, based on descriptions found in the Larger Sutra and the Contemplation Sutra. The most famous mandala in Japan is the Taima Mandala, dated to approximately 763 CE. The Taima Mandala is based upon the Contemplation Sutra, but other similar mandalas have been made subsequently. Unlike mandalas used in Vajrayana Buddhism, it is not used as an object of meditation or for esoteric ritual. Instead, it provides a visual representation of the Pure Land texts, and is used as a teaching aid.
Also in Jodo Shinshu Buddhism, Shinran and his descendant, Rennyo, sought a way to create easily accessible objects of reverence for the lower-classes of Japanese society. Shinran designed a mandala using a hanging scroll, and the words of the nembutsu (南無阿彌陀佛) written vertically. This style of mandala is still used by some Jodo Shinshu Buddhists in home altars, or butsudan.
CHRISTIANITY
Forms which are evocative of mandalas are prevalent in Christianity: the celtic cross; the rosary; the halo; the aureole; oculi; the Crown of Thorns; rose windows; the Rosy Cross; and the dromenon on the floor of Chartres Cathedral. The dromenon represents a journey from the outer world to the inner sacred centre where the Divine is found.
Similarly, many of the Illuminations of Hildegard von Bingen can be used as mandalas, as well as many of the images of esoteric Christianity, as in Christian Hermeticism, Christian Alchemy, and Rosicrucianism.
The Layer Monument at the Church of Saint John the Baptist, Maddermarket, Norwich, an early 17th century marble mural monument which includes four inter-related sculpted figurines, is a rare example of Christian iconography absorbing alchemical symbolism to form a Mandala in Western funerary art.
WESTERN PSCHYCHOLOGICAL INTERPRETATIONS
According to art therapist and mental health counselor Susanne F. Fincher, we owe the re-introduction of mandalas into modern Western thought to Carl Jung, the Swiss psychoanalyst. In his pioneering exploration of the unconscious through his own art making, Jung observed the motif of the circle spontaneously appearing. The circle drawings reflected his inner state at that moment. Familiarity with the philosophical writings of India prompted Jung to adopt the word "mandala" to describe these circle drawings he and his patients made. In his autobiography, Jung wrote:
"I sketched every morning in a notebook a small circular drawing,...which seemed to correspond to my inner situation at the time....Only gradually did I discover what the mandala really is:...the Self, the wholeness of the personality, which if all goes well is harmonious."
—Carl Jung, Memories, Dreams, Reflections, pp. 195 – 196.
Jung recognized that the urge to make mandalas emerges during moments of intense personal growth. Their appearance indicates a profound re-balancing process is underway in the psyche. The result of the process is a more complex and better integrated personality.
"The mandala serves a conservative purpose - namely, to restore a previously existing order. But it also serves the creative purpose of giving expression and form to something that does not yet exist, something new and unique…. The process is that of the ascending spiral, which grows upward while simultaneously returning again and again to the same point."
- Jungian analyst Marie-Louise von Franz, C. G. Jung: "Man and His Symbols," p. 225
Creating mandalas helps stabilize, integrate, and re-order inner life.
According to the psychologist David Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."
WIKIPEDIA
My words:
Every spot visit was optimally time-bound in our whole 8-day conducted tour. So I had to take snaps as much as possible to tell you a story of my visit. It was really a laborious task to cover as many elements as possible within that short span of time. This is for the reason I utilized every opportunities I could avail...like majorities of my landscape photographs were taken from our running bus, and I really enjoyed it to do so.
This is a series of photographs representing the rich cultural heritage of native Indians of North America. My whole effort will not go to vane if you really like and appreciate this small effort of mine.
About the Monument
The Crazy Horse Memorial is a mountain monument under construction on privately held land in the Black Hills, in Custer County, South Dakota, United States. It will depict the Oglala Lakota warrior, Crazy Horse, riding a horse and pointing into the distance. The memorial was commissioned by Henry Standing Bear, a Lakota elder, to be sculpted by Korczak Ziolkowski. It is operated by the Crazy Horse Memorial Foundation, a nonprofit organization.
The memorial master plan includes the mountain carving monument, an Indian Museum of North America, and a Native American Cultural Center. The monument is being carved out of Thunderhead Mountain, on land considered sacred by some Oglala Lakota, between Custer and Hill City, roughly 17 miles from Mount Rushmore. The sculpture's final dimensions are planned to be 641 feet wide and 563 feet high. The head of Crazy Horse will be 87 feet high; by comparison, the heads of the four U.S. Presidents at Mount Rushmore are each 60 feet high.
The monument has been in progress since 1948 and is far from completion. If completed, it may become the world's largest sculpture.
[ Custer City- is generally considered to be the oldest town established by European Americans in the Black Hills of South Dakota and Wyoming. Gold was found there during the 1874 Black Hills Expedition, conducted by the 7th Cavalry led by Lt. Colonel George Armstrong Custer, a discovery which initiated the Black Hills Gold Rush.
For thousands of years, the Black Hills had been part of the territory of varying tribes of indigenous peoples. They were within historical territory of the Oglala Sioux at the time of United States encounter, and within the Great Sioux Reservation established by the US Treaty of Fort Laramie (1868). Having established dominance in the area by the eighteenth century, the Oglala Sioux had long considered the Black Hills as sacred land]
Who was Crazy Horse?
Crazy Horse was a Native American war leader of the Oglala Lakota. He took up arms against the U.S. Federal government to fight against encroachments on the territories and way of life of the Lakota people. His most famous actions against the U.S. military included the Fetterman Fight (21 December 1866) and the Battle of the Little Bighorn (25–26 June 1876). He surrendered to U.S. troops under General Crook in May 1877 and was fatally wounded by a military guard, while allegedly resisting imprisonment. He ranks among the most notable and iconic of Native American tribal members and was honored by the U.S. Postal Service in 1982 with a 13¢ postage stamp that is part of its Great Americans series.
History of the monument
Korczak Ziolkowski and Henry Standing Bear.
Henry Standing Bear ("Mato Naji"), an Oglala Lakota chief, and well-known statesman and elder in the Native American community, recruited and commissioned Polish-American sculptor Korczak Ziolkowski to build the Crazy Horse Memorial in the Black Hills of South Dakota. In October 1931, Luther Standing Bear, Henry's older brother, wrote sculptor Gutzon Borglum, who was carving the heads of four American presidents at Mount Rushmore. Luther suggested that it would be "most fitting to have the face of Crazy Horse sculpted there. Crazy Horse is the real patriot of the Sioux tribe and the only one worthy to place by the side of Washington and Lincoln." Borglum never replied. Thereafter, Henry Standing Bear began a campaign to have Borglum carve an image of Crazy Horse on Mt. Rushmore. In summer of 1935, Standing Bear, frustrated over the stalled Crazy Horse project, wrote to James H. Cook, a long time friend of Chief Red Cloud's "I am struggling hopelessly with this because I am without funds, no employment and no assistance from any Indian or White."
On November 7, 1939, Henry Standing Bear wrote to the Polish-American sculptor Korczak Ziolkowski, who worked on Mount Rushmore under Gutzon Borglum. He informed the sculptor, "My fellow chiefs and I would like the white man to know that the red man has great heroes, too." Standing Bear also wrote a letter to Undersecretary Oscar Chapman of the Department of the Interior, offering all his own fertile 900 acres (365 ha) in exchange for the barren mountain for the purpose of paying honor to Crazy Horse. The government responded positively, and the National Forest Service, responsible for the land, agreed to grant a permit for the use of the land, with a commission to oversee the project. Standing Bear chose not to seek government funds and relied instead upon influential Americans interested in the welfare of the American Indian to privately fund the project.
In the spring of 1940, Ziolkowski spent three weeks with Standing Bear at Pine Ridge, South Dakota, discussing land ownership issues and learning about Crazy Horse and the Lakota way of life. According to Ziolkowski, "Standing Bear grew very angry when he spoke of the broken Treaty of Fort Laramie (1868). That was the one I'd read about in which the President promised the Black Hills would belong to the Indians forever. I remember how his old eyes flashed out of that dark mahogany face, then he would shake his head and fall silent for a long while."
Memorial foundation
The memorial is a non-profit undertaking, and receives no federal or state funding. The Memorial Foundation charges fees for its visitor centers and earns revenue from its gift shops. Ziolkowski reportedly was offered US$10 million for the project from the federal government on two occasions, but he turned the offers down. He felt the project was more than just a mountain carving, and he feared that his plans for the broader educational and cultural goals of the memorial would be overturned by federal involvement.
After Ziolkowski died in 1982 at age 74, his widow Ruth Ziolkowski, took charge of the sculpture, overseeing work on the project as CEO from the 1980s to the 2010s. Ruth Ziolkowski decided to focus on the completion of Crazy Horse's face first, instead of the horse as her husband had originally planned.[13] She believed that Crazy Horse's face, once completed, would increase the sculpture's draw as a tourist attraction, which would provide additional funding. She also oversaw the staff, which included seven of her children.
Sixteen years later, in 1998, the face of Crazy Horse was completed and dedicated.
Ruth Ziolkowski died 21 May 2014, aged 87. Monique Ziolkowski, Ruth's daughter, became CEO and three of her siblings continue to work on the project, as well as three of Monique's nephews.
Completed vision
The memorial is to be the centerpiece of an educational/cultural center, to include a satellite campus of the University of South Dakota, with a classroom building and residence hall, made possible by a US$2.5 million donation in 2007 from T. Denny Sanford, a philanthropist from Sioux Falls, South Dakota. It is called the University and Medical Training Center for the North American Indian and the Indian Museum of North America. The current visitor complex will anchor the center. Sanford also donated US$5 million to the memorial, to be paid US$1 million a year for five years as matching donations were raised, specifically to further work on the horse's head.
Controversies
Crazy Horse resisted being photographed and was deliberately buried where his grave would not be found. Ziolkowski envisioned the monument as a metaphoric tribute to the spirit of Crazy Horse and Native Americans. He reportedly said, "My lands are where my dead lie buried." His extended hand on the monument is to symbolize that statement.
Long Legged Liars @ Represent Festival Balingen 2018
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Artifacts representing Michael Anderson, who served as payload commander on space shuttle mission STS-107, are displayed in a new, permanent memorial, "Forever Remembered," opening June 27 in the Space Shuttle Atlantis exhibit at the Kennedy Space Center Visitor Complex in Florida. NASA and astronaut families collaborated on the memorial designed to honor the crews lost on missions STS-51L and STS-107, pay tribute to shuttle vehicles Challenger and Columbia, and emphasize the importance of learning from the past. Encompassing nearly 2,000 square feet, the memorial contains the largest collection of memorabilia and personal items of both flight crews. It also includes recovered hardware from both Challenger and Columbia, never before displayed for the public. Photo credit: NASA/Kim Shiflett
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
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the WARM UP Wall established for this occasion
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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.
Encyclopedic Palace is curated by Massimiliano Gioni
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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 Grandis
Angola 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 Vicini
Curators: 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
Commissioner: 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
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
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 Voinea
Artists: 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
Venue: Forte Marghera, via Forte Marghera, 30
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
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 ?