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Barry McGee loft installation (animated TV) by TRUE2DEATH

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Pabst’s Okay Specific by The U.S. Food and Drug Administration

Pabst’s Okay Specific, a 60 proof elixir, boldly proclaimed to “cure positively and without fail … when all other medications have failed” gonorrhea and gleet discharge. Pabst’s promotional materials, such as this matchbox cover, coyly skirted social taboos about sexually transmitted diseases that likely increased consumers’ attraction to self-medicate, rather than visit a physician. But because it was therapeutically inert, their conditions likely festered or worsened. From 1917-1934 the FDA took action against Pabst’s for misbranding 23 times!

Visit the "American Chamber of Horrors" web page and watch the video to learn more!

For more information about FDA history visit www.fda.gov/history

Bayview Chapter OES No. 105 by antefixus21

1

They meet at the Barrie Masonic Temple, Barrie, 0ntario, Canada.

Unfortunately this photo was hung upside down. The white point should point down.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

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Order of the Eastern Star

General Grand Chapter logo

The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.

Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.

Contents

HistoryEdit

The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.

In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.

On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]

The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]

Emblem and heroinesEdit

The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:

Adah (Jephthah's daughter, from the Book of Judges)

Ruth, the widow from the Book of Ruth

Esther, the wife from the Book of Esther

Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John

Electa (the "elect lady" from II John), the mother

OfficersEdit

Officers representing the heroines of the order sit around the altar in the center of the chapter room.

Eastern Star meeting room

There are 18 main officers in a full chapter:

Worthy Matron – presiding officer

Worthy Patron – a Master Mason who provides general supervision

Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer

Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer

Secretary – takes care of all correspondence and minutes

Treasurer – takes care of monies of the Chapter

Conductress – Leads visitors and initiations.

Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.

Chaplain – leads the Chapter in prayer

Marshal – presents the Flag and leads in all ceremonies

Organist – provides music for the meetings

Adah – Shares the lesson of Duty of Obedience to the will of God

Ruth – Shares the lesson of Honor and Justice

Esther – Shares the lesson of Loyalty to Family and Friends

Martha – Shares the lesson of Faith and Trust in God and Everlasting Life

Electa – Shares the lesson of Charity and Hospitality

Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.

Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.

Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.

Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.

HeadquartersEdit

The International Temple in Washington, D.C.

Main article: International Temple

The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.

CharitiesEdit

The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]

Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star

Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse

Notable membersEdit

Clara Barton[8]

J. Howell Flournoy[9]

Eva McGown[10]

James Peyton Smith[11]

Lee Emmett Thomas[12]

Laura Ingalls Wilder[13]

H. L. Willis[14]

See alsoEdit

Achoth

Omega Epsilon Sigma

ReferencesEdit

^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.

^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death

^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.

^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.

^ "OES Charities". Retrieved 2016-04-15.

^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.

^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]

^ Clara Barton, U.S. Nurse Masonic First Day Cover

^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1

^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC

^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.

^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.

^ Big Muddy online publications

^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.

External linksEdit

Official website

Eastern Star Organizations at DMOZ

Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois

GARY ASHCRAFT? JESUS IS GOD by Gary Ashcraft

Oneness Pentecostalism (doctrine)

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It has been suggested that Oneness vs Trinity be merged into this article or section. (Discuss)

This list of basic Oneness Pentecostal doctrine is an overview. These doctrines are UPCI specific, and can be interpreted more conservatively or liberally with respect to individual and church specific views. These doctrines are accompanied by references to most, but not all, scriptures officially used by Oneness Pentecostal churches in defense of their doctrines. [1]

Oneness Pentecostal theology is essentially rooted in the following fundamentalist beliefs:

* God exists and is perfect.

* The Holy Bible is the inspired Word of God.

* The absolute inerrancy of the Holy Bible (not necessarily including any or all translations).

* Sola Scriptura (Scripture interprets Scripture), which also leads to the following assertions by Oneness Pentecostalism in framing its theology:

o The Bible is the final authority on all doctrine.

o Doctrine and Theology must take the entire Bible into consideration, using Scripture to interpret other Scripture.

o Any apparent contradictions between Scriptures is a result of faulty interpretation of one or both Scriptures.

o Any doctrine, theology, or person that contradicts the Bible is in error.

Contents

[hide]

* 1 God

o 1.1 Father, Son, and Holy Ghost

o 1.2 The Deity of Jesus Christ

o 1.3 The Name of Jesus (Emmanuel, God with us as Savior)

* 2 Salvation

o 2.1 Salvation Is through Faith

o 2.2 Obeying (Applying) the Gospel

o 2.3 Repentance

o 2.4 Water Baptism

o 2.5 The Baptism of the Holy Ghost

* 3 References

[edit] God

Oneness Doctrine Churches hold to a conservative monotheistic view of God and stress Jesus Christ as the self revelation of God in the New Testament, who was known as Jehovah in the Old Testament. The Christian Monotheist Oneness doctrine rejects all concepts of a duality, trinity, pantheon, or other doctrines they see as representing multiple personalities of God. It rejects all concepts of Jesus Christ as anything different than being both fully God and fully man. This rejection includes views that would place the Son as only part of God, views that the Son is only a high priest and not God, or that the Son was not fully human. It declares that Jesus Christ is the only begotten Son of God. Oneness also rejects the view that any person can "obtain" the status of God either by works or by grace, maintaining that Jesus Christ did not "obtain" His status, but rather that he is God manifested in the flesh (1st Timothy 3:16).

Oneness specifically maintains:

God is One

God is absolutely and indivisibly One. [2]

God is an Invisible Spirit

God is not made of a physical body, but is an invisible spirit that can only be seen in Theophanies (eg. the burning bush) that God creates or manifests or as the incarnate Jesus Christ. [3]

[edit] Father, Son, and Holy Ghost

The Father

The title of God in Parental Relationship [4]

The Son of God

The only begotten Son of God and the One God incarnate in man. The title "Son" refers to both the man and the deity of Jesus Christ with specific emphasis on the man, but never God or the man only. [5]

The Holy Spirit

The title of God in activity as Spirit. [6]

The Father Is the Holy Ghost

Oneness maintains that the titles Father and Holy Ghost refer to the same being. [7]

[edit] The Deity of Jesus Christ

Jesus is God Incarnate

Oneness maintains that Jesus is fully God. [8]

From the Beginning of His Human Life

Oneness maintains that Jesus is fully man, and had birth, death, and resurrection. Oneness denies doctrines that state that the Son was eternally begotten, maintaining that the man was begotten on a specific day.[9]

The Divine Nature of Jesus Is the Father

Oneness maintains that the deity of Jesus is the Father. [10]

The Divine Nature of Jesus Is the Holy Spirit

Oneness maintains that the deity of Jesus is the Holy Ghost. [11]

Jesus is LORD (the LORD in the KJV)

Oneness maintains that LORD and Jesus refer to the same God who is also known as the Jehovah to "some" modern day Christians. [12]. Some believe Jehovah to be a false guess name with "hovah" in Hebrew meaning ruin or destruction, hence Je-hovah meaning God of ruin or destruction [13]

[edit] The Name of Jesus (Emmanuel, God with us as Savior)

Supreme Revelation of God in the New Testament

Oneness maintains that God revealed Himself as Jesus Christ. [14]

The Saving Name

Oneness Pentecostal theology is based primarily on "the saving Name" of Jesus Christ and recognition of Jesus as the revealed, supreme, and One True Name of God. [15]

[edit] Salvation

Oneness Pentecostal doctrine and theology maintains that salvation comes by a specific set of commands and requirements in the New Testament. It maintains that each set of requirements, as summarized by faith in Jesus Christ, repentance, water baptism by immersion in the name of Jesus Christ, and the gift of the Holy Ghost baptism, are all necessary for salvation. Each that is deemed a requirement, or necessary, is noted by their doctrine with Scripture that maintains that each was commanded for salvation and/or explained that the lack of them would result in not having salvation. Individual church interpretation can impact how these are carried out. Most Oneness Pentecostal churches maintain that the use of Jesus, Lord Jesus, Jesus Christ, Jesus Christ of Nazareth all refer to the same name, and reference the variety used in the Book of Acts. This allows room in their doctrine for personal preference of the specific utterance of the name of Jesus Christ, though officially the full name "Jesus Christ" is advocated.

Universal Need for Salvation

Oneness Pentecostals believe that all men are sinners and lost without salvation. [16]

The Atoning Work of Jesus Christ

Oneness Pentecostals maintain that the man Christ Jesus made atonement, or payment, for the sins of all people. [17]

Salvation Is by Grace

Oneness Pentecostal theology holds that salvation is impossible to obtain without God's grace. [18]

[edit] Salvation Is through Faith

Only Through Faith in Jesus Christ

Faith must be in Jesus Christ. This theology holds that there is no salvation in faith in any name, god, being, or work other than Jesus Christ. This contradicts liberal interpretations of scripture that salvation was given automatically by the atonement of Jesus Christ. Oneness Pentecostals maintain that those without faith in Jesus Christ have not received salvation. That salvation is a gift and must be received. [19]

Saving Faith Includes Obedience

Oneness Pentecostals maintain that true faith is followed by obedience and a willingness to do the Will of God.[20]

Examples of Insufficient, Mental Faith

Oneness Pentecostals reject that salvation is obtainable by what they refer to as "mental faith". Mental faith is best described as faith that has no accompanying actions other than the barest definition of believing. Mental faith is often characterized by Oneness Pentecostals as faith without any life changing repentance or obedience. This doctrine is often used to refute groups who practice salvation by the "Sinner's Prayer". Oneness Pentecostals have no issue with the "Sinner's Prayer" itself, but would dispute that it alone is sufficient saving faith. They often argue that upon questioning, a significant portion of the US population might say they believe in Jesus Christ, but that "belief" and "faith" are not necessarily synonymous, pointing out in James 2:19 that even "the devils also believe, and tremble". [21]

Saving Faith Includes the Acts 2:38 Experience

Oneness Pentecostals affirm a position that "true faith" includes acts of faith and obedience to faith. They specifically point out Acts 2:38 which says, "Then Peter said unto them, Repent, and be baptized every one of you in the name of Jesus Christ for the remission of sins, and ye shall receive the gift of the Holy Ghost." They maintain that if a person has true faith, they will act on it.[22]

[edit] Obeying (Applying) the Gospel

New Testament Teaching

To obtain salvation, a person must meet the requirements set forth in the New Testament. [23]

Old Testament Typology (Blood, Water, Fire or Oil)

The requirements set forth in the New Testament are based on the teachings of the Old Testament, and that the New Testament teachings fulfill the teachings of the Old Testament. [24]

[edit] Repentance

Necessity of Repentance

Oneness Pentecostals maintain that salvation is not possible without repentance. [25]

Elements of Repentance

Oneness Pentecostals define repentance generally as confession and forsaking of sin. Confession is the admittance of sin and asking of forgiveness. Forsaking of sin is the conscious decision to abstain from sinning again.[26]

[edit] Water Baptism

Significance and Necessity

The majority of Oneness Pentecostals believe that baptism is absolutely essential to salvation. A small minority believe that baptism is symbolic in nature.(Reference Global Network of Christian Ministries) [27]

For Repentant Believers

Oneness Pentecostals believe that one must have faith and repent before being baptized. This would contradict a view that salvation could come through a baptism by force.[28]

The Baptismal Mode - Immersion in Water

Oneness Pentecostal theology maintains the literal definition of baptism, being full immersion in water. They often point out that other methods have either no biblical basis, or are based inexact Old Testament rituals, and that their mode is the only one described in the New Testament. This view contradicts the use of any other substance other than water for baptism. This view contradicts any reduced amount of water in baptism, such as sprinkling or head-only immersion. [29]

The Baptismal Formula - In the Name of Jesus

Oneness Pentecostal theology in the use of "the name of Jesus" as the baptismal formula is universal among its believers by definition of Oneness Pentecostalism. [30]

The One Name in Matthew 28:19

Many Oneness Pentecostals recognize "the name of the Father, and of the Son, and of the Holy Ghost" in Matthew 28:19 as being that of Lord Jesus Christ. Oneness itself is often explained (in simplistic terms) as the recognition of the three titles as the singular name of Lord Jesus Christ (Father=Lord, Son=Jesus, and Holy Ghost=Christ). Some Oneness reject the triune Lord Jesus Christ representing the Father, Son, and Holy Ghost and baptize in the name of Jesus Christ only. These are called "Jesus Only". They note that in their own 20th century history, the baptismal name recognition and Oneness theology go hand in hand. Similarly, they note a universal use in the Book of Acts, and with the support of other historical texts of the time, maintain that proof of Oneness theology by the early Christian church was widespread and universal among the leading members. Also of note is that by their doctrinal basis that no Scripture contradicts, that Matthew 28:19, and all of the Acts accounts, including Acts 2:38, must be in full agreement with each other. They state that the only two explanations would be that the Apostles all disobeyed the command in Matthew 28:19 or that they correctly interpreted and fulfilled it, when they used the name Lord Jesus Christ. [31]

[edit] The Baptism of the Holy Ghost

Promise and Command

Pentecostals maintain that the baptism of the Holy Ghost is both a free gift and is commanded to be accepted. The Holy Ghost is explained by Pentecostal doctrine as the Spirit of God (also known as the Spirit of Christ) dwelling within a person. It is further explained as the power of God to edify (build up) the person, help them abstain from sin, and to anoint them with power to exercise the gifts of the Spirit for edification of the church in the Will of God. This differs from the incarnation of God in Jesus Christ, in that the incarnation is explained as "the fullness of the Godhead" in the body of Jesus Christ inseparably linking the deity and man, that is Jesus. Believers, according to this doctrine, can only receive a portion of the Spirit and are not permanently bonded with God as Jesus is. This doctrine explained most simply, it is God dwelling within an individual, communing with the individual, and working through that individual. Oneness doctrine maintains the Holy Ghost is the title of God in action, so they also maintain that the Holy Ghost in an individual is God in action in and through that individual. [32]

An Experience for the Church Founded on Pentecost

Pentecostals, both Oneness and Trinitarian, maintain that the Holy Ghost experience marks the formation of the Christian Church. [33]

Significance and Necessity

Pentecostal churches maintain that the Holy Ghost is necessary for salvation, and that he carries with him power for the believer to accomplish the Will of God. [34]

Speaking in Tongues Is the Initial Sign

The majority of Oneness Pentecostals maintain that the initial sign of the Holy Ghost is speaking in tongues. They recognize that reception of the Holy Ghost was evidenced, when documented in the New Testament, by the minimal requirement of speaking in tongues. They also recognize a biblical basis that the gift of tongues is a sign to unbelievers of the power of the Holy Ghost and is actively to be prayed for and practiced, especially in prayer. [35]

[edit] References

1. ^ A shortened version compiled from “An Overview of Basic Doctrines”, an overview compiled the book ‘’A Handbook of Basic Doctrines’’ by David K. Bernard. Also included are excerpts, as marked, from “Essential Doctrines of the Bible.” “Essential Doctrines of the Bible” and “An Overview of Basic Doctrines”, Thompson Chain-Reference Study Bible, Word Aflame Press, 1999, 1-12, 13-25, respectively

2. ^ Deuteronomy 6:4, Isaiah 37:16, 42:8, 43:10-11, 44:6, 8, 24, 45:5-6, 14, 18, 21-22, 46:5, 9, 48:11-12, Zechariah 14:9, Malachi 2:10, Mark 12:29, John 17:3, Romans 3:30, Galatians 3:20, I Timothy 2:5, James 2:19, Revelation 4:2

3. ^ Exodus 33:20, Luke 24:39, John 1:18, 4:24, Colossians 1:15, I Timothy 6:15-16, Hebrews 12:9, I John 4:12

4. ^ Deuteronomy 32:6, Malachi 2:10, Psalm 89:26, Isaiah 63:16, 64:8, Jeremiah 31:9, Romans 8:14-19, Galatians 1:1-4, Ephesians 4:6, Hebrews 12:9

5. ^ Psalm 2:7, Isaiah 7:14, 9:6, Matthew 1:18-23, Mark 13:32, Luke 1:35, John 14:10-11, 28, Acts 13:33, Romans 5:10, Galatians 4:4, Colossians 1:13-15, Hebrews 1:1-9

6. ^ Genesis 1:2, Ephesians 4:4, 6, Leviticus 11:44, John 4:24, Acts 5:3, 4, 9, I Corinthians 12:11, I Peter 1:16, II Peter 1:21

7. ^ Matthew 1:18, 20, Isaiah 40:13, Joel 2:27-28, Luke 1:35, Romans 8:15-16, Compare Matthew 10:20 and Mark 13:11, Compare John 14:17 and 14:23, Compare John 14:26 and II Corinthians 1:3-4, Compare I Corinthians 3:16-17 and 6:19, Compare Ephesians 1:17-20 and Romans 8:11, Compare I Timothy 6:13 and Romans 8:11, Compare II Timothy 3:16 and II Peter 1:21 Compare I Peter 1:2 and Jude 1

8. ^ Isaiah 9:6, 11:1, 10, 40:9, John 1:1, 14, Colossians 2:9-10, Micah 5:2, Matthew 1:23, John 1:1-18, John 20:28, II Corinthians 5:19, Ephesians 5:5, Colossians 1:15, 19, I Timothy 3:16, Titus 2:13, Hebrews 1:1-3, I John 5:20, Jude 4, 25, Revelation 1:7-18, 22:3-4, Compare Exodus 20:1-5 and Luke 24:52, Compare Deuteronomy 33:27 and Revelation 1:8, 18, Compare Psalm 139:7-13 and Matthew 18:20, 28:20, Compare Isaiah 35:3-6 and Matthew 11:2-6, Compare Isaiah 43:25 and Mark 2:5-12, Compare Malachi 3:6 and Hebrews 13:8, Compare I John 1:5 and John 1:4-9, Compare Revelation 19:6 and Colossians 1:16-18

9. ^ Galatians 4:4, Micah 5:2, Matthew 1:23, 2:11, Isaiah 7:14, 9:6, Luke 1:35, 2:38, Hebrews 1:6

10. ^ Isaiah 9:6, 63:16, John 8:19-27, 10:30, 10:38, 12:45, 14:8-11, Revelation 21:6-7, Colossians 2:9, I John 3:1-5, Compare John 2:19-21 and Acts 2:24, Compare John 6:40 and I Corinthians 6:14, Compare John 6:44 and John 12:32, Compare John 14:14 and John 16:23, Compare John 16:7 and John 14:26, Compare Ephesians 5:26 and Jude 1

11. ^ John 14:16-18, 16:7, Acts 16:6-7 (NIV), II Corinthians 3:17, Galatians 4:6, Ephesians 3:16-17, Philippians 1:19, Compare Matthew 28:20 and John 14:16, Compare Luke 21:15 and Mark 13:11, Compare John 2:19-21 and Romans 8:9-11, Compare Ephesians 5:26 and I Peter 1:2, Compare Colossians 1:27 and Acts 2:4, 38

12. ^ Jeremiah 23:5-6, 33:15-16, John 8:58, Acts 9:5, Isaiah 40:10, 53:1-2, Zechariah 11:3, 12, 12:1, 10, 14:3-5, Compare Genesis 17:1 and Revelation 1:8, 18, Compare Exodus 3:14 and John 8:56-59, Compare Psalm 27:1 and Acts 4:10-12, Compare Psalm 136:3 and Revelation 19:16, Compare Isaiah 33:22 and Acts 10:42, Compare Isaiah 40:3 and Matthew 3:3, Compare Isaiah 40:5 and I Corinthians 2:8 and Isaiah 42:8, 48:11, Compare Isaiah 45:21 and Acts 7:52, Compare Isaiah 45:23 and Philippians 2:10

13. ^ Strongs #1943

14. ^ Zecharaiah 14:9, John 14:13-14, Colossians 3:17, Isaiah 52:6, Acts 3:6, 16, 4:7-12 17-18, 30, Philippians 2:9-11, James 5:14

15. ^ Matthew 1:21, Acts 3:16, 4:12, 10:43, 15:14-17, 22:16, Romans 10:13, I John 2:12

16. ^ Romans 3:9-12, 23, 5:12, 19, 6:23, Psalm 53:1-3, 130:3, Ecclesiastes 7:20, Jeremiah 17:9, Galatians 3:22, Ephesians 2:1-3, I John 1:8-10

17. ^ Isaiah 53:5-6, Matthew 20:28, 26:28, Romans 3:24-25, 5:8-11, John 1:29, I Corinthians 15:1-4, II Corinthians 5:14-21, Ephesians 2:13-19, Colossians 1:19-22, 2,:13-15, I Timothy 2:5, 6, Hebrews 2:9, 9:22, 28, 10:4, 10-20, Revelation 5:8-10

18. ^ Ephesians 2:4-10, Titus 2:11-12, 3:4-7, Romans 3:24, 6:1-2, 15, 23, I corinthians 15:10, II Corinthians 12:9, Galatians 5:4, Philippians 2:13, Hebrews 12:15, I Peter 5:5, 10

19. ^ John 3:16, 8:24, 20:31, Acts 13:38-39, 16:31, Hebrews 11:6, Romans 1:16-17, 3:21-31, 10:8-11, Galatians 2:16, Ephesians 2:8

20. ^ Romans 1:5, 6:17, 10:16, 16:26, Hebrews 5:9, 11:6-10, 11:28, John 8:30-32, Acts 6:7, James 1:21-25, I Peter 1:21-23, I John 2:3-6, 5:1-8, Compare Romans 4:3 and Genesis 15:6, 22:16-18, 26:5, Compare Romans 10:6-10 and Deuteronomy 30:10-14 and Luke 6:46

21. ^ John 2:23-25, 12:42-43, James 2:14-19, Acts 8:12-23

22. ^ Mark 1:15, 16:16, Acts 2:38, 41, 8:36-39, 11:15, 17, 19:1-6, Galatians 3:14, Ephesians 1:13

23. ^ John 3:5, Acts 1:4-8, 2:38, 8:15-17, 9:17-18, 10:43-48, 16:30-34, 19:1-6, 22:16, Titus 3:5, Matthew 3:11, Luke 24:46-49, Romans 6:1-7, I Corinthians 6:11, 15:1-4, Hebrews 6:1-2, 10:15-23, I John 5:8-10

24. ^ I Corinthians 10:1-2, Exodus 12:13, 14:19-31, 19:10-11, 29:1-7, Leviticus 14:1-20, Numbers 19:1-10, 31:1-18, I Kings 18:33-39, Hebrews 9:18-20, Compare Exodus 40:6-7 and Hebrews 9:1-9, Compare Matthew 3:11 and Acts 2:3-4, Compare John 14:16-17, 26 and I John 2:20, 27, I Peter 3:20-21 and II Peter 3:5-7

25. ^ Luke 3:3-9, 13:1-5, Acts 2:38, 3:19, 17:30, 26:18, 20, Ezekiel 18:30-32, Matthew 3:1-11, Mark 1:15, Hebrews 6:1, II Peter 3:9

26. ^ Psalm 51:17, Proverbs 28:13, Matthew 5:23-24, Mark 1:4-5, Luke 3:7-9, 19:8, Acts 26:18, 20, II Corinthians 7:10

27. ^ Mark 16:16, John 3:5, Acts 2:38, 10:48, 22:16, Galatians 3:27, Numbers 19:1-5, 9, Romans 6:3-4, I Corinthians 6:11, Colossians 2:11-13, Titus 3:5, I Peter 3:20-21, I John 5:6, 8

28. ^ Luke 3:7-8, Acts 2:38, 41, 8:12, 36-37, 10:47-48, 16:14-15, 18:8, 19:5, Matthew 3:6-8, Mark 1:5, 16:16

29. ^ Matthew 3:16, John 3:23, Romans 6:4, Mark 1:5, 9-10, Acts 8:36-39, Colossians 2:12

30. ^ Acts 2:38, 8:12, 16, 10:48, 15:17, 19:3-5, 22:16, I Corinthians 1:13, Galatians 3:27, Philippians 3:27, Colossians 2:9-10, 3:17, James 2:7

31. ^ Matthew 1:21, 28:18-20, Luke 24:47, Isaiah 52:6, Zechariah 14:9, John 5:43, 14:26, Acts 2:38, 8:16, 10:48, 19:3-5, Colossians 3:17, Revelation 22:3-4

32. ^ Matthew 3:11, Acts 1:4-8, 2:38-39, Joel 2:28-29, Mark 15:17-18, Luke 11:13, 24:49, John 3:5, 7:38-39, 14:16-18, 20:22, 16:7, 13

33. ^ Matthew 16:18, John 7:39, 16:17, Acts 1:4-8, 2:1-4, 19:1-6, Hebrews 8:6-13, 9:15-17, 11:39-40, I Peter 10-12

34. ^ John 3:1-8, Acts 1:4-8, 2:1-4, 2:37-39, 3:19, 8:15-17, 9:17, 10:44-47, 11:15-18, 19:1-6, Romans 8:1-16, 23-27, 14:17, I Corinthians 6:11, 12:3, Ephesians 1:13-14, Titus 3:5, I John 3:24

35. ^ Acts 2:1-4, 33, 8:6-8, 12-20, 10:44-46, 11:15, 19:6, Isaiah 28:11-12, Mark 16:17, John 3:8, Romans 8:16, I Corinthians 14:18, 21-22

ashcraftministry.blogspot.com/

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies, by Biennalist by Thierry Geoffroy / Colonel : Artist

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

-------------------------------------------

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

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وینسVenetsiya

art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィア・ビエンナーレ威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

No. 6: Sir Gromit of Bristol by Ian Marlow by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

RAISING AWARENESS by Nestlé

We run specific campaigns to encourage employees to reduce food waste in canteens. At our headquarters in Switzerland we succeeded in reducing food waste by one third in six months by encouraging employees to take an appropriate portion of food from the self-service buffet and by allowing them to buy leftovers and take them home.

Bronze bas-relief panel, detailed segment of Holy Door (Porta Santa) in Papal Basilica of Maria Maggiore in Rome, Italy. April 22, 2026 by Aris Jansons

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This specific low-relief panel represents a pivotal event in Christian history: the Council of Ephesus in 431 AD. It depicts a solemn assembly of early church fathers and bishops, distinguished by their traditional historical mitered headwear. They are shown gathered around a classical column and holding sacred texts. This ecumenical council officially proclaimed the Virgin Mary as the Theotokos (the Mother of God). This declaration directly inspired the original 5th-century construction of Santa Maria Maggiore under Pope Sixtus III.

"La Constancia" by Regina Giménez by Latitudes | Barcelona

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The manufacturing and printing of textiles formed the basis of the industrial revolution in Catalunya. Beyond the actual fabric, it is the machinery of its production and the people who operated it—especially women—that underpins Regina Giménez’s presentation of her graphic works as part of the Compositions programme. Taking place in one of the buildings that comprises Can Trinxet, a former textile factory complex that once employed the largest workforce in L’Hospitalet de Llobregat, Giménez’s intervention comprises painted compositions that are derived from schematic representations of machines and their components. Her abstractions have been applied on transparent panels that lean against a scarred factory wall, becoming devices that reanimate the marks and memories embedded in the building. An accompanying poster evokes the clamour that once would have filled the workshop in typographic form. Giménez has titled her project “La Constancia” (2016) in tribute to the labor union that called a general strike in 1913 to protest the conditions of the female and child workers who undertook the textile industry’s most monotonous and arduous tasks. – Latitudes

Regina Giménez (Barcelona, 1966) has exhibited individually at: ‘Architecture d’aujourd’hui’, The Green Parrot, Barcelona (2015); ‘Art de foc art de badoc’, Nadala 2015 Fundació Joan Miró, Barcelona (2015); ‘Simbols Convencionals’, Museu d’Art Modern de Tarragona (2012). She has recently participated in the following group shows: Biennal de Valls, Tarragona (2015); ‘Modernitat Amagada’, Casa Capell, Mataró (2013); ‘La casa de la playa’ para ‘Cas de estudi’, Can Felipa, Barcelona (2013).

Giménez is represented by Ana Mas Projects, L’Hospitalet/San Juan (Puerto Rico) and by Galería Miquel Alzueta, Barcelona.

––

“La Constancia” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.

Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.

In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.

Conceived and curated by Latitudes | www.lttds.org

Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.

Info: www.lttds.org/projects/composiciones2016/

Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...

No. 25 - Andrew Lloyd Webbear by Matthew Wells

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Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below

No. 1: Love, Paddington X (Lulu Guinness) |

No. 69: Roger by Richard Williams by Matthew Wells

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Would you like a take a shortcut to a specific Gromit?

Esthel by Ben C.K.

16 9

My hairstylist friend Weena wanted some specific pictures to add to her portfolio.

So we set up this photoshoot back in Januray with 3 models, A Stylist & 2 MUA.

Here is Esthel.

--

Mon amie coiffeuse Weena voulait quelques images particulières à ajouter à son portfolio.

Nous avons donc organisé un photoshoot avec 3 modèles, une styliste et 2 maquilleuses.

Je vous présente Esthel.

Model Esthel Racine

Styling Darragh Kílkenny-Mondoux

Makeup Louanna Rosset

Hair Weena Jérôme

Lighting info

Left image

Key Light PCB E640, in a 120cm eBay Octabox, 1/4 power lighting model from the top 12:00

Kick Light 430EX with pink gel @24mm 1/2 Power, camera right behind model @2:00

Right image
Key Light PCB E640, in a 120cm eBay Octabox, 1/4 power lighting model from the top 12:00
Kick Light AB800 1/4 Power, camera right behind model @2:00

Canon 5D MKII + EF 85MM F1.8 USM | F9 | 1/160 | Iso 100

facebook | twitter | bencks

Your comments and favs are always appreciated!

Prohibido cantar / No Singing. Jordi Colomer by Matadero Madrid

JORDI COLOMER

Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.

Desde el 14 de septiembre

Precio: Entrada libre

Institución:

Abierto x Obras

Inauguración: Viernes 14 de septiembre a las 20 h.

Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.

'Os será más fácil sacarles el oro a los hombres que a los ríos'1

"La fundación de una ciudad no es forzosamente un acto heroico. Para las ciudades antiguas, la arqueología tantea un orden cronológico, desempolva las pruebas del suceso, mientras la Historia y la leyenda proponen sus relatos. Dice Jorge-Luis Borges: 'A mí se me hace cuento que empezó Buenos Aires: La juzgo tan eterna como el agua y como el aire'2.

Pero cada día, empiezan nuevas ciudades, construidas de agua, de hormigón, de sudor y de dinero. Algunas son -casi- pura idea. En su programa electoral el presidente Kubitschek prometió la creación de una moderna capital para Brasil y, en tres años, Brasilia se levantó entre las malezas del plano alto central, siguiendo fielmente los planes de Lucio Costa. A su vez los obreros que la pusieron en pie, venidos de todas las regiones del país, plantaron sus chamizos trémulos donde dormir y fundaron -sin saberlo- su propia ciudad. Hay ciudades de cristal que crecen en los despachos, y otras de lata y cartón que bailan al ritmo de sus propios habitantes. En una ocasión, a un grupo de forajidos a los que la policía les pisaba los talones se les estropeó el camión en pleno desierto. No podían seguir, ni ir hacia atrás. Fundaron entonces allí mismo una ciudad paradisíaca, la ciudad dorada, donde el mayor de los crímenes era no tener dinero. Esa ciudad se llama Mahagonny y Bertolt Brecht la imaginó al tiempo que Las Vegas brotaba con la forma de ciudad que hoy conocemos.

En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".

Jordi Colomer

1 Bertolt Brecht. Ascenso y caída de la ciudad de Mahagonny.1927-30.

2 Jorge Luis Borges. Fundación mítica de Buenos Aires in Fervor de Buenos Aires, 1923

BIOGRAFÍA

Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.

Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. En l’Avenir (2011), inspirada en el Falansterio de Charles Fourier, las imágenes dan rostro a los habitantes de un proyecto utópico y son a la vez un comentario sobre sus posibilidades de materializarse. La instalación Prohibido cantar que aquí se presenta, investiga una vez más esa tensión entre proyecto y realidad, dibujando un espacio híbrido, a la vez totalmente físico y puramente mental; los proyectos de construcción de una ciudad de oro y casinos, que los medios anuncian tiene visos de precisarse y un lugar con mucho viento, contaminado por proyectos imaginarios del pasado y ahora ocupado por personas jugando a la ficción. Nótese que el propio espacio de Abierto x Obras ha quedado transformado por efecto de todas estas visitas.

Ha trabajado también como escenógrafo para el teatro en obras de Joan Brossa, Samuel Beckett, Valère Novarina así como en una ópera de Robert Ashley.

PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER

(Didactic work on the foundation of a paradise city)

From 14 of september

to 09 of december

Price: Free

Institution:

Abierto x Obras

GALERÍA DE FOTOS

[ver + fotos]

'It's easier getting gold out of men than from rivers'. Bertolt Brecht,

The Rise and Fall of the City of Mahagonny, 1927-30

The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.

There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.

In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.

Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).

Blossom with a Fish Eye by Matthew Wells

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Mike Rijnierse – Klok by Ed Jansen

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TodaysArt 2015

Pier, Scheveningen

Mike Rijnierse is known for his large scale site specific installations, where the audience gets incorporated into the context of the work. For the 11th edition of TodaysArt, Mike Rijnierse has developed a site specific work for the pier in Scheveningen. During the festival, a 100 kg church bell will bungee jump from The Pier, from the bungee jump tower. The sixty meter fall of the bell will result in a unique sound experience.

While contacting Royal Eijsbouts Bell Foundry, world’s largest manufacturer of cast bronze bells, carillons, swinging bells, clocks, and bell and clock towers, asking whether they wanted to contribute to the project, Joep van Brussel asked if he had understood it correctly: “So, it is like cycling towards a church with the speed of 60 km per hour?” The answer lies in the question. Joep immediately understood the concept of ‘Klok’. The effect is commonly heard when a sounding object approaches, passes, and recedes from an observer. Compared to the emitted frequency, the received frequency is higher during the approach, identical at the instant of passing by, and lower during the recession. The fall of the sounding bell will cause a Doppler effect.

Mike Rijnierse (1974) is an artist known for his large scale site specific installations, where the audience gets incorporated into the context of the work. His installations and performances are instruments in which dialogue and interaction are developed for sensory investigation, as a platform for interdisciplinary research. The relation of space and time or the geography and the perception of the observer are used as parameters for musical development. As a teacher at the Interaction Design department of ArtEZ Art Academy, Arnhem (NL), Mike developed the course Design of Instruments, which focuses on the development of new design tools and instruments.

In 2005, Rijnierse developed a 16 channel sound installation PAN, which stretched out along a 170 meter path inside of the sculpture garden of the Kröller-Müller Museum for the opening of ‘Kijk Uit!/Attention!’ by Krijn Giezen. That work was followed in that same year by a 16 channel sound installation ‘CITY CIRCLES’ in the Grote Marktstraat and resulted in ‘THX_The Hague INT’L’ in 2007. TodaysArt approached him to develop a concept for the Central Station of The Hague in 2008, which he developed in collaboration with Staalplaat Soundsystem and Erik Hobijn. This resulted in ‘STATION TO STATION’.

Voldemort as project manager by Kevin Dooley

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Dr. Tom Marvolo Riddle, Ph.D. (aka Lord Voldemort):

"I take project management very seriously; unfortunately my cohorts don't, or Harry Potter would already be disposed of. For example, the Death Eaters are good at the touchy feely stuff, but really don't know how to put together a good plan. Draco Malfoy? Don't even get me started. I told everybody we were going to coordinate via Microsoft Project, and he tells me 3 months into the project he's never looked at it because they only have one computer and his kid is always on it.

My advice to newcomers to project planning? You have to think a lot about your objectives, because that is what will drive activity and managerial attention. Objectives should be SMART: specific, measureable, assignable, realistic, and time-oriented.

Sorry, gotta go, got a lot on my to-do list today..."

Sensing the Distress by ON BORROWED TIME

34 5

Compassion/Kindness

Compassion is sensing the distress of others, empathizing with them, and reaching out to them in specific ways to assist in alleviating their need. A godly, Christ-centered man must include compassion as a quality of his busy, success-oriented lifestyle. If you are married, strive to have compassion for your wife and children.

1. Our model for compassion is God himself.

Psalm 72:12–13 For he will deliver the needy when he cries for help, the afflicted also, and him who has no helper. He will have compassion on the poor and needy, and the lives of the needy he will save. (NASB)

Lamentations 3:21–23 This I recall to my mind, therefore I have hope. The LORD’s lovingkindnesses indeed never cease, for His compassions never fail. They are new every morning; great is Your faithfulness. (NASB)

Matthew 14:14 When He went ashore, He saw a large crowd, and felt compassion for them and healed their sick. (NASB)

Deuteronomy 30:3; Psalm 25:6; 51:1; Isaiah 49:10; 54:10; Micah 7:18–19; Matthew 15:32; 20:34; Luke 7:13; 10:33

2. Compassion for others is required.

Zechariah 7:9 This is what the LORD Almighty said: “Administer true justice; show mercy and compassion to one another.” (NIV)

Colossians 3:12–14 Therefore, as God’s chosen people, holy and dearly loved, clothe yourselves with compassion, kindness, humility, gentleness and patience. Bear with each other and forgive one another if any of you has a grievance against someone. Forgive as the Lord forgave you. And over all these virtues put on love, which binds them all together in perfect unity. (NIV)

Proverbs 29:7; Philippians 2:1–3

3. Compassion must be expressed in tangible ways, not just talk or good intentions. Those who are able should share materially with others.

Proverbs 19:17 If you help the poor, you are lending to the LORD—and he will repay you! (NLT)

Psalm 41:1 Blessed is the one who considers the poor! In the day of trouble the LORD delivers him. (ESV)

1 John 3:17 If we are rich and see others in need, yet close our hearts against them, how can we claim that we love God? (GNT)

Proverbs 11:25; Matthew 25:35–36; Luke 3:11; James 2:15–16

Biblical Narratives

• David to Saul, 1 Samuel 23:21

• David to Mephibosheth, 2 Samuel 9

• Jonah’s need, Jonah 4

• Nehemiah to Jerusalem, Nehemiah 1

• Jesus, Matthew 14:14; 15:32; 20:34; Mark 1:40–42

• Good Samaritan, Luke 10:25–37

Practical Steps

• Get your family involved in volunteer work for needy people. Make a list of those you know who are hurting; do something tangible to help.

• Study the parable of the Good Samaritan (Luke 10:25–37), and write out ten specific applications reflecting present-day needs around you.

• List the number of times in the Gospels something is mentioned or modeled about compassion.

• Get involved in the lives of needy people through ministries such as Christmas shoe boxes or Angel Tree. Consider sponsoring a child through organizations such as Compassion International or Samaritan’s Purse.

• In showing compassion to your children, remember their age and the need to see things from their point of view. How can you show compassion in language they will understand?

• Make a list of coming events in your child’s life when you will need extra compassion (start of school, new baby coming, fear of illness, losing a game in sports, etc.).

Keith R. Miller, Quick Scripture Reference for Counseling Men (Grand Rapids, MI: Baker Books, 2014), 72–74.

London Lights by Ian Wylie

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My first visit to the top of The Shard in London on the fourth day it was open to the public - Monday February 4th 2013. At 1,016ft / 310m, it is the tallest building in western Europe. Having lived and worked in London for over 30 years, I know the city very well. But it was a thrill to see it in person from this brand new perspective, especially after watching The Shard’s construction and gradual rise into the city skyline.

Hopefully the following information will be useful to others planning to experience the views, including photographers:

Opening hours are 9am to 10pm daily, aside from Christmas Day. The last time slot for entry is 2030 with final entry at 2100. As recommended, I bought my ticket online in advance several weeks ago. The official advice is to buy online at least 24 hours in advance and print at home, though you can also collect from the ticket office. All tickets are for a specific time and date and cost £24.95 for an adult (over 16) and £18.95 for a child (aged 4 to 15). Infants 0 - 3 are free. Children must be accompanied by adults. You can turn up on the day and buy from the ticket office at “00” ground level but obviously that depends on them having any left for the time you want. The cost on the day is £29.95 for an adult and £23.95 for a child - if available. Although it’s not widely advertised online, there is a third category of ticket - “Immediate Entry” - at a cost of £100. That applies to both adults and children and buys you entry even if the time and date you want is full. There is an option for a replacement ticket on another day if the cloud cover obscures the view from the top and visibility is poor. But this is at the discretion of the duty manager and you would obviously have to be at The Shard to arrange, if available.

The View from The Shard (for that’s what it’s called) is right outside London Bridge tube station at the southern end of Joiner Street, which runs through the station. If you initially head for the London Underground Tooley Street exit, then you turn right at the main tube exit, basically walking in the opposite direction to Tooley Street. The View from The Shard entrance will appear on your left in under a minute.

All the staff are very friendly and pro-active, having taken a leaf from volunteers at the London Olympics. Whether they can keep it up in the months and years to come remains to be seen. There doesn’t appear to be much point in arriving more than 10 or 15 minutes before the time of entry on your ticket. I had selected 1600, as sunset on this day was just before 1700. All tickets are in half hour slots. So 1600 gains you entry at any time between then and 1630. There is an initial ticket check outside on the pavement before you are allowed up a first flight of stairs and asked to join a queue to the right. This was beside the machines where you were supposed (according to your ticket) to scan the barcode on the ticket. But none of them were working and the staff simply checked our tickets themselves. I’m sure this whole process will be refined as this new attraction gets into its stride.

Two minutes before 1600 we were allowed to move through the side of the adjacent shop area and into an airport-style security check. All jackets / coats had to be removed, change / phones / keys in a tray and bags through a scanner. It is worth checking the official website as to what you can and cannot take in. A small rucksack / bag is fine but not larger ones. Photographers should also note that tripods are banned. In truth, they would probably cause problems / potential conflicts at busy times, however considerate their users were. Though it would be nice if, in time, special dedicated photographers’ events (with tripods) could be offered out of hours with lights switched off.

Having cleared security you then move to the first set of two staffed lifts. These take you very smoothly to the 33rd floor, where you change to another lift taking you up to Level 68. There is a tiny amount of sensation as the high speed lift slows and stops but hardly anything compared to other very tall buildings I have visited.

Level 68 is simply an exit area before walking up to (enclosed) Level 69, which is one of the two viewing galleries. A short walk up a further few flights of stairs will take you to Level 72, which is still pretty much enclosed but open to the elements above. While I don’t have a problem with heights (at least inside a building) both of these floors felt substantial and were larger than I had imagined. I could sometimes hear the wind howling on Level 72 (it was a windy day in any event) but neither of the viewing galleries feel like platforms at the top of a building - just two floors with tall windows, one of which just happens to have no ceiling / roof.

Both of these floors - if you walk all the way around - offer a 360 degree panoramic view of London for up to 40 miles on a clear day. They were both pretty busy, especially at sunset, but became much quieter as the evening went on. There is NO time limit as to how long you can stay up. Having arrived on the viewing platforms just after 1600, I finally left at 1830 - two and a half hours for £25, which seemed pretty decent value.

Mostly everyone, of course, wants to take photographs, whether via their mobile phone or cameras and lenses costing thousands of pounds. At busy times you just have to be patient and wait your turn for a particular window / view. Most people were aware of others, stepped in for a minute or so and then backed away to let someone else take some photos. A few, of course, had no idea of the small queue of people behind them either wanting to simply take in the view or take pics. As mentioned, it was much quieter an hour or so after sunset and by 1830 (at least on this day) you could pretty much have your pick of a window. I guess the best idea is to allow plenty of time for your visit so you can take in all the views you want if it happens to be busy.

Level 72 is the most problematic for photographers in terms of window reflections, particularly from the steel structure, as well as from other visitors. There are similar problems on Level 69, including hand rails, but not quite so bad. And obviously this will depend on the time of day, direction of sun etc. I also heeded the advice of others and took a cloth to wipe the inside of the windows which have many finger / smudge marks on them.

Being unable to use a tripod is a particular problem at night, unless you have a rock steady hand. One partial solution is to put your camera bag on the floor next to the base of a window and place the camera on top. Not ideal and a bit hit and miss but needs must. A small Gorillapod might work where there are hand rails but I’m not sure if that would be allowed through security. And, again, you would be close to possible reflections from the rail.

As you will see, my night photos are OK but not the sharpest. That, of course, also comes down to my limited skills! I was also careful to make time to simply take in the wonder of the various views without worrying about taking pics.

Not my thing but...there is a small shop below the viewing galleries back on Level 68, en route (naturally) to the same lifts that took you up. They also return you to the ground where there is a larger shop appearing to stock a wider range of merchandise. That’s right next to the ticket counters so I presume you could visit the ground floor shop without buying a ticket but best check.

Even having been at the top of The Shard for two-and-a-half hours I found it hard to drag myself away. The views (if you are lucky enough with the weather) are truly stunning and wherever you look something is happening. Whether it be the “toy” trains snaking into London Bridge or Cannon Street, the Thames river boats, the queues of traffic winding into and out of the city centre...all of that and so much more is fascinating. Plus new views of old favourites in the distance like Wembley Stadium or the Albert Bridge. And just the calm of standing so tall above what I think is the world’s greatest city.

The View from The Shard has to be a “must” for visitors to London and pretty high up on the list of things to do for those of us who live here. I’ll certainly be going back.

Recommended links:

www.theviewfromtheshard.com

www.guardian.co.uk/artanddesign/interactive/2013/feb/01/v...

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■ภาวะตกขาว ซึ่งบางทีเรียกว่า มุตกิด หรือระดูขาวนั้น เป็นภาวะหนึ่งที่สตรีส่วนมากต้องประสบและทำให้สตรีจำนวนไม่น้อยมาพบแพทย์ และสูตินรีแพทย์ ภาวะดังกล่าวอาจเป็นอาการที่แสดงออกมาจากตอบสนองต่อฮอร์โมนในสตรีที่ปกติ หรือจากการที่เป็นโรคที่ไม่รุนแรงเรื่อยไปจนกระทั่งถึงโรคที่รุนแรงก็ได้ ดังนั้นภาวะนี้จึงมีความสำคัญมิใช่น้อย

ตกขาว

ตก ขาว เป็นของเหลวใด ๆ ที่ไหลออกมานอกช่องคลอด แต่ไม่ใช่เลือด ของเหลวดังกล่าวส่วนใหญ่ถูกสร้างขึ้นจากช่องคลอด ปากมดลูก และอวัยวะข้างเคียงบริเวณปากช่องคลอด ลักษณะของตกขาว จะมีความแตกต่างกันไปขึ้นการเปลี่ยนแปลงของร่างกาย ทั้งในขณะที่อยู่ในภาวะปกติ หรือกำลังเป็นโรคอยู่

ตาม ปกติแล้วในสตรีที่อยู่ในวัยเจริญพันธุ์ (อีกนัยหนึ่ง คือ สตรีที่อยู่ในช่วงอายุที่ยังมีประจำเดือน หรือมีฮอร์โมนเพศหญิงเจริญเต็มที่) จะมีการเปลี่ยนแปลงของฮอร์โมนแตกต่างกันไปตามระยะของประจำเดือน การเปลี่ยนแปลงนี้ จะมีผลต่อการลักษณะของเหลวที่สร้างขึ้นมาจากอวัยวะต่าง ๆ ในระบบสืบพันธุ์สตรี ดังเช่น ในช่วงกึ่งกลางรอบประจำเดือนหรือระยะใกล้เคียงกับการตกไข่ ซึ่งเป็นเวลาที่มีฮอร์โมนเอสโตรเจนสูง ทำให้ในช่วงเวลานี้ จะมีตกขาวลักษณะค่อนข้างเหลวใส ๆ ปริมาณมากกว่าระยะเวลาอื่น ส่วนตกขาวในระยะเวลาอื่นจะมีสีขาวขุ่นคล้ายแป้งเปียก นอกจากนั้นแล้ว ตกขาวที่ปกติควรจะไม่คัน และไม่มีกลิ่น ถ้าตกขาวของท่านมีลักษณะดังที่กล่าวมานี้ถือว่าปกติ

อย่างไรก็ตาม สตรีแต่ละท่านจะมีปริมาณตกขาวแตกต่างกันไป บางท่านอาจมีปริมาณตกขาวมากจนเปื้อนชุดชั้นในอยู่หลายวันในแต่ละเดือน แต่สำหรับบางท่านอาจมีปริมาณน้อยจนไม่รู้ว่ามีตกขาวเลย

นอกจากนี้ ฮอร์โมนในสตรีในวัยดังกล่าว ทำให้เซลล์ในช่องคลอดสมบูรณ์ และมีการสร้างสารประเภทแป้งที่เรียกว่าไกลโคเจน ซึ่งจะถูกเปลี่ยนแปลงโดยแบคทีเรียชนิดหนึ่งให้เป็นกรดอ่อน ๆ ภาวะนี้จะช่วยป้องกันการรุกรานจากเชื้อโรคชนิดอื่นที่ก่อให้เกิดความผิดปกติ ได้

ตก ขาวผิดปกติจะมีลักษณะที่ต่างออกไปจากที่กล่าวมาข้างต้น จะมีสาเหตุใหญ่อยู่ 2 ประเภท คือ สาเหตุจากการติดเชื้อ และสาเหตุจากการไม่ติดเชื้อ

ตกขาวที่มีสาเหตุจากการติดเชื้อ

ตก ขาวจากสาเหตุนี้ เกิดได้จากเชื้อไวรัส แบคทีเรีย รา และพยาธิในช่องคลอด ตกขาวประเภทนี้ บางชนิดจะมีลักษณะที่ค่อนข้างเฉพาะตัว ดังจะกล่าวต่อไป

ตกขาวที่มีสาเหตุจากเชื้อไวรัส

เชื้อ ไวรัสบางชนิดเป็นเชื้อโรคที่ติดต่อมาโดยการมีเพศสัมพันธ์กับผู้ที่มีเชื้อ บางครั้งอาจไม่มีอาการชัดเจน ตัวอย่างของโรคในกลุ่มนี้ได้แก่ โรคเริมซึ่งเป็นโรคที่ไม่หายขาด จะมีอาการเป็นตุ่มใส ๆ ขนาดเล็ก ต่อมาจะแตกเป็นแผลแสบ มีตกขาวสีเหลืองมีกลิ่นผิดปกติโดยเฉพาะอย่างยิ่งในครั้งแรกที่ปรากฏอาการ

ตกขาวที่มีสาเหตุจากเชื้อแบคทีเรีย

ตก ขาวประเภทนี้มักมีสีเหลือง หรือค่อนข้างเขียว อาจมีอาการคันในบางราย เชื้อบางชนิดอาจเกิดตกขาวมีกลิ่นคาวปลาหลังการร่วมเพศ แต่ในกรณีที่มีการติดเชื้อจากโรคหนองในจะมีตกขาวสีเหลืองจัด อาจร่วมกับมีอาการปัสสาวะแสบขัดได้

ตกขาวมีสาเหตุจากเชื้อรา

เชื้อ ราในช่องคลอดมักทำให้เกิดอาการตกขาวสีขาว มีลักษณะเป็นก้อนเล็ก ๆ คล้ายนมที่ทารกแหวะออกมา และมีอาการคันช่องคลอด การตกขาวชนิดนี้มักไม่ได้เกิดจากการติดต่อทางเพศสัมพันธ์ สาเหตุที่พบบ่อยเกิดจากการใช้ยาปฏิชีวนะ น้ำยาสวนล้างช่องคลอดที่มีส่วนผสมของยาปฏิชีวนะ หรือในกรณีที่ผู้ป่วยมีภูมิต้านทานต่ำ เช่น ผู้ป่วยที่เป็นโรคเบาหวาน ผู้ป่วยกำลังใช้ยาที่มีฤทธิ์กดภูมิต้านทาน

ตกขาวจากเชื้อพยาธิในช่องคลอด

พยาธิ ชนิดนี้เป็นโรคติดต่อเชื้อทางเพศสัมพันธ์ชนิดหนึ่ง มักมีสีเหลือง อาจเห็นเป็นฟอง มีอาการคันช่องคลอด และอาจมีกลิ่นออกเปรี้ยวเล็กน้อย

ตกขาวที่มีสาเหตุจากการไม่ติดเชื้อ

ตก ขาวผิดปกติประเภทนี้ มีสาเหตุได้จาก การระคายเคืองหรือแพ้สารเคมี จากมะเร็งในอวัยวะสืบพันธุ์สตรี (เช่น มะเร็งของปากมดลูก ช่องคลอด ท่อนำไข่) รวมทั้งเกิจากการมีสิ่งแปลกปลอมในช่องคลอด

ในกรณีที่เกิดปัญหาตกขาว

ท่าน ที่ประสบปัญหาตกขาวที่มีลักษณดังที่ได้กล่าวมาแล้วข้างต้นนั้น แนะนำให้ทานยาสตรีเป็นสมุนไพร ของหมอจ๋าย

แต่ถ้าหากว่าท่าน มีอาการตกขาวที่มีลักษณะผิดปกติ กล่าวคือ มีสี กลิ่นผิดไปจากปกติหรืออาจมีอาการคันร่วมด้วย ก็ควรจะได้รับการตรวจและรักษาให้ถูกต้องตามสาเหตุ ทั้งนี้เนื่องมาจากการรักษาที่ตรงตามสาเหตุจะทำให้โรคหายเร็วขึ้น เช่น ในกรณีที่ตกขาวจากเชื้อรา หรือถ้าเป็นจากเชื้อพยาธิในช่องคลอด ก็อาจจะต้องใช้ยารับประทาน ประการที่สองสาเหตุของตกขาวที่ปิดปกติบางครั้งอาจเกิดจากมะเร็งอวัยวะสืบ พันธุ์สตรีได้ โรคดังกล่าวนี้ควรได้รับการรักษาอย่างเร่งด่วน ส่วนประการสุดท้ายคือ ถ้าอาการตกขาวของท่านมีสาเหตุจากโรคติดต่อทางเพศสัมพันธ์

มีอีกหลายอย่างหลายประการ ที่เกึ่ยวกับโรคอวัยวะภายใน ของสตรี

-ปวดประจำเดือน

-คันในช่องคลอด

-ช่องคลอดมีกลิ่น

-ขาดน้ำหล่อลื่น

-ช่องคลอดไม่กระชับ

หน้าอกเหลว เล็ก หย่อนยาน

-มดลูกหย่อนยาน โบราณ เรียดกระบังลม

ช็อกโกแลตซีส

-สิง ฝ้า หน้าข้าวตังดังตกกระ

เราได้จัดสมุนไพรทั้งหลายทั้งปวง ผสมให้ถูกส่วน ล้วนให้ตรงกับโรค ตามประโยคดังกล่าว ไม่ต้องทานหลายอย่าง เพียงขนานเดียว เพราะใช้สมุนไพรหลายอย่างให้ตรงกับโรคของสตรี ใช้มาหลายร้อยปีไม่มีอันตรายเพราะเป็นเสมือนอาหารสมุนไพร เช่น ว่านมหาเมฆ ว่านชักมดลูก ไพร ฝาง เจตมูลเพลิง แดง ดอกคำฝอย ขี้เหล็ก แสมสารและสมุนไพรอื่นอีกมากมาย ให้ครบกับโรคสตรีที่มีเป็นกันมาก เป็นรากฐานของมะเร็งในภายภาคหน้า รีบรักษาก่อนที่จะเกิดมะเร็ง

■ราขวดละ 400 บาท มี 20 แคปซูล

■ติดต่อที่ 028107832 0868030656 www.patsiri.com

สนใจในบริการของเรา สามารถติดต่อสอบถาม 028107832 0868030656 อีเมล์ nopsuvan2495@hotmail.com

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No. 60: Lodekka by Ignition DG by Matthew Wells

Would you like a take a shortcut to a specific Gromit?

aNarvik-coaches+ore-train by tisdalem2001

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Malmbanan and Narvik, 27 and 28 March 1980

While I was touring Europe by rail in March 1980, I made up the trip as I went along, generally not planning more than a few days in advance where I was going. Often it depended on where I was and were I could get to overnight on a train.

I had a few specific goals, among them riding Le Mistral and the Rheingold, the premier trains of France and Germany at the time and both TEEs. I saw a new item about Italy's Paola-Cosenza rack line still running steam in Continental Railway Journal, so I included it in my trip. I wanted to see some of Switzerland and had a day when I rode the Gotthard, Simplon and Lotschberg lines in a day trip from Luzern, where I was staying, to Milan and back. The now well worn February 1980 copy of Cook's International Timetalbe now on the table next to me was invaluable for figuring all this out.

My Euirailpass had come with a rail map of Europe, showing the lines where the pass was valid, and something I'd noticed was a line in far northern Sweden and Norway ending at Narvik, on the Norwegian coast. I don't think I knew much about the line at the time, other than that it was above the Arctic Circle and was as far north as I could reach by rail in western Europe. (Wikipedia says its northernmost point is 68.452 degrees north latitude.) I've since gone through my collection of rail magazines and realized that I might have read about the line to Narvik before I went there, but at the time it was an abstraction, a far away place that might as well have been Olympus Mons or the Sea of Tranquility for me. Anyway, I don't think I had any clue of what to expect when I boarded the Nordpilen (Northern Arrow) in Stockholm the night of 26 March.

Cook's had shown me that the train to Narvik left Stockholm at 1632 and was due into Narvik at 1400 the following afternoon. It was not really a through train as the sleeper and couchettes from Stockholm only went as far as Kiruna. Meanwhile, it would have picked up some coaches and 3 of those would continue on from Kriuna to Narvik. The train was a classic overnight run with cars for various destinations as it left Stockholm as well as picking up cars along the way..

My notes say that out of Stockholm, we had a Rc4, three 2nd class and one 1st class coach for Ostersund, a self service diner, a 2nd class coach for Ange, two couchettes and a sleeper for Krruna and three sleepers and a couchette for Lulea..

I had food with me as European train food was often expensive and not all trains had food service. Cooks says the Nordpilen had a diner for dinner and as far as Kiruna for breakfast.

Normally, on overnight trips, I'd sleep in a first class coach compartment as I had a first class Eurailpass, but on the Nordpilen, I was in a couchette, an economy sleeper with 6 berth compartments. I probably slept like a rock...whether the other people in the compartment did with my snoring is another matter.

At some point in the morning we stopped at the Arctic Circle sign., I thought it was a signal stop at first, but then saw the sign out the window and I presume the stop was made so people could see it and get photos if they wanted.

Kiruna was the last major community in Sweden on our route and it turned out to be a major iron mining center and the reason for the line's existence. The railroad reached Kiruna in 1899 and then was pushed over the mountains to Narvik to give the ore an Atlantic Ocean port, being completed in 1903.

In addition to shedding the couhettes and sleeper from Stockholm and a coach-diner from Lulea in Kriuna, the Nordpilen swapped its Rc4 electric for a Da 1-C-1 jackshaft drive electric. The Da series dated from the 1950s, had about 2500 HP and a maximum speed of 100 km/h. This was more than adequate for the train and railroad between Kiruna and Narvik.

We left Kriuna on time at 1100 and headed into some very remote country. There were a few towns along the way, but to give you a feel for how small they are, the Nordpilen stops at Abisko, which has 85 people.

At about 1310, we stopped at Bjornfjell, just inside Norway and stayed there for a while. Up to that point, we'd been on time. We heard there was a derailment ahead. another train was in the station, also 3 cars behind a Da. This train was also headed for Narvik, and my notes say that it was coupled to the end of our train when we left. Cook's lists a train that left Kiruna at 0700, so if that was the train already in the station, it had been there a while.

I got off the train and took some photos of the trains, station and snowsheds. The station had a cafe and I warmed up with coffee from it. At the time, there was not a road from Narvik to Sweden through Bjornfjell, but that changed in 1984.

At about 1515, with the other train's Da locomotive run around to the end of the train, we headed west, with Da, 6 cars, Da. It is 40 km from Bjornfjell to Narvik and the line is called the Ofotbanan in Norway, although the whole route if frequently referred to by the Swedish Malmbanan.

Bjornfjell is at 514 meters elevation and the line drops to sea level at Narvik. The 40 km separating the two stations is one of the most spectacular routes anywhere in the world and only its remoteness keeps it from being as well known as the Moffat line out of Denver, Donner Pass or various Swiss mountain railways. It runs along Narvik Fjord and the whole trip is nothing short of gorgeous. As we were two hours late, we had late afternoon light, as well.

We stopped again at Katterat, about 10 km from Bjornfjell and met an uphill ore train and a passenger train, probably the Nordpilen, which was scheduled to leave Narvik at 1500. My notes say we were going again at 1650 and arrived in Narvik at 1728, 3 1/2 hours late.

Railroading above the Arctic Circle presents challenges!

Several of us walked from the station to the hostel. I remember talking to one woman who lived somewhere near Narvik that would require a ferry ride to get to and the last ferry had already left for the evening, so she was spending the night at the hostel.

After getting checked in and having dinner, I went out and got photos of the sunset and the lights on the harbor. As this was after the spring equinox and we were above the Arctic Circle, the sky still had color at 10 at night.

The next day (28 March), I explored Narvik. Its main reason for being is as the port for the ore, and is the biggest community in the area with 20,000 people. The photos aren't really in order by time, but I grouped them by location with the station, ore dock and general harbor and city scenes together. My notes say that in addition to ore trains with the 3 unit jackshaft drive Dm3 electrics and NSB class 15s, I saw an NSB DMU train depart, then the Nordpilen arrive, although I don't seem to have a photo of the Nordpilen's arrival.

The Dm3s were quite a sight, They were 3 unit 1'D+D+D'1 jackshaft drive engines built from 1954 to 1971. The last were retired in 2011, but some are preserved. They had 9,700 HP and were geared for a maximum speed of 75 km/h. Not speed demons, but they got the ore up and down the mountain for decades.

The Nordpilen left on time at 1500, and afforded another sightseeing trip up the fjord. My notes say that the train's 5 cars filled up when we stopped at various Swedish stations with skiers. 28 March was a Friday, so, perhaps, people were also going from remote towns into larger communities for the weekend.

I switched to a couchette at Kiruna. We left almost on time at 1825, having replaced the Da with an Rc4 and added 3 couchettes and a sleeper (or maybe it was 2 and 2, I wasn't sure about one car) and a diner-coach. The coaches and diner would be taken off at Boden and continue to the port city of Lulea on the Gulf of Bothnia. Aslo at Boden, sleepers and couchettes from Lulea would be added to the train for the run to Stockholm.

After 3 days of beautiful weather in Stockholm and the far north, the weather turned wet. The Nordpilen arrived in Stockholm around 1315, which would have been maybe 5 minutes late. With the wet weather, I just hung around Stockholm station until my next train was due to leave, the 1547 train to Malmo and Copenhagen, which had a through cars to Hamburg and Berlin, the Berlin car being a Mitropa sleeper. (Mitropa was the East German sleeping dand dining car company.)

On the trip south from Stockholm, I rode in the the through car to Hamburg, a DB 1st/2nd composite car. It was packed. It seemed that a Danish gymnastic team had missed an earlier train and was on this one. I wound up on a jump seat in the aisle. At one point, someone saw me reading the International Herald-Tribune and asked if she could see it when I was done. When I said "Sure" she exclaimed, "He's American!" in shock, which got some laughs. Several of the gymnasts and I got to talking and I swapped addresses with one of them, whom I visited the following year.

After Copenhagen, I had a compartment to myself in the Copenhagen-Konstanz coach and rode that to Frankfurt overnight.

With Norwegian Airlines offering cheap flights on Oslo and Stockholm from Oakland, I have been itching to get back to Scandinavia and have another go at the Malmbanan. No Dm3s these days, but heavy ore trains still run along the fjord and I'd like a few days to do some linesiding at the little stations where we stopped. Perhaps when I retire.

Miss Sarie is Very Sick by DonnitaMae

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This photo was taken on our way to Miss Sarie's Pre-Op appointment the day after I found out how sick she was. We stopped by our favorite park and I took what I feared would be our last pictures.

UPDATE 5:45 PM 12 April

Miss Sarie had her follow up appointment today to have her stitches removed. Everyone was happy to see her. She has a clean bill of health for right now. I will be taking in a urine sample so that her Urine Specific Gravity can be checked for any signs of kidney damage. Pyometra can damage the kidneys.

UPDATE 5:15 AM 9 April

Miss Sarie had a quiet Easter Sunday. She napped most of the day. When she wasn't napping she wanted to be held.

Last night we moved back to my bed. She nestled down and slept peacefully through the night.

This will be her first day alone. I will be leaving for work in about 1/2 hour. She will go through withdrawal. All the attention has made her into quite a spoiled baby!

She goes back to the Vet to have her stitches out on the 12th of April. I probably won't update again until then.

UPDATE 8:15 PM 7 April

Miss Sarie and I went to visit a few folks today. We stopped by the adoption event so everyone could see her. They have been quite concerned about Miss Sarie. They all love her. Miss Sarie is the mascot for the rescue.

Today Miss Sarie was very happy to be held by others. Normally she gets anxious if I am not holding her. She will only stay in someone elses arms for a very short time. But today she was very content and quite a showoff!

UPDATE 10:30 AM 7 April

4 Days since her surgery and she is thriving!

Miss Sarie and I woke up to a light coat of snow on the ground this morning. I took one of her little beds out and laid it on the ground so she could enjoy the fresh smell of the newly fallen snow. She didn't move off of the little bed but she perked up and sniffed all around.

She then came in and decided she would eat her breakfast that she had been ignoring all morning. And is now toddling around checking out all her special places in the dining room.

She woke me up several times last night. She has decided that enough is enough. She wants back in bed with me. Since the surgery I have had her in an extra large laundry basket with bedding on the floor next to me. I have slept on the couch so if she wakes I can easily lay my hand on her. Well last night the hand laying went on all night!

UPDATE 11:45 AM 6 April

Miss Sarie is continuing to recover like she was a puppy! This morning she gave me a little bit of a scare. A few minutes after she was up she vomited the contents of her stomach. It was a very quick non-violent episode. I think she was overheated because she slept nestled into a snuggly donut bed and had a little blanket with her. She got over it quickly and ate her breakfast and drank water with no further episodes. She is resting comfortably now.

Yesterday late afternoon she went to visit Auntie Betty. Auntie Betty adores Miss Sarie. When Miss Sarie first came to me and Betty met her she said that she wanted to take care of Sarie's medical care. For the first 1 3/4 years she paid every bill but then I felt to awkward to let her know about anything that I was doing for Miss Sarie.

We go visit Betty several times a year but we hadn't been to visit since last Fall. On Monday, 2 April, I called Betty because I feared Miss Sarie was not going to make it through this. I wanted to give her a chance to see Miss Sarie before this terrible disease took her away from all of us. Her phone went to her answering machine and I left her a message telling her that Sarie was very sick.

When I didn't hear back from her I assumed she was out of town for Easter vacation. She is retired and travels a lot. On Wednesday evening she called me. I was able to happily tell her that Miss Sarie had been though surgery and was thriving!

She immediately insisted that she wanted to pay for all of the costs. She told me she fully realizes that Miss Sarie is an old dog and that medical costs can be high with an old baby. She said when she made the offer that she meant it no matter how long Miss Sarie is with us. I was amazed at her generosity when she first offered 2.5 years ago but am overwhelmed that she is still committed to this sweet little girl.

Thank you Betty for taking much of the worry off of taking care of Miss Sarie. And for your dedication to this sweet little rescue girl! I will be forever grateful for your selfless act.

UPDATE 11:00 AM 5 April

Miss Sarie had a wonderful night last night. She slept soundly and never woke up once. This morning she ate her breakfast, did her potty duties, took her medicine....and promptly decided she wanted to sleep some more. At the moment she is basking in the sun by the sliding glass door in her donut bed!

UPDATE 8:30 PM 4 April

At about 5 today Miss Sarie and I took a ride to Bob Evans to pick up dinner. We drove to Auntie Teresa's. (Sarie has many Aunties and Uncles!) She toddled around Auntie Teresa's kitchen and rested in a donut bed. When I opened the food I had picked up for Auntie Teresa and me she started whining... YES.. She wanted more food!

When we came home she had her first BM since the surgery. So another Post-Op milestone has been met!

Auntie Teresa sat with me yesterday morning while I waited for Miss Sarie to go into surgery. I didn't want to leave Miss Sarie because I knew she would be upset. That wouldn't have been good for her before surgery. She had her catheter put in about 4 hours before her surgery, so it was a long wait. Auntie Teresa sat with us for about 3 hours waiting! She was shocked tonight to see how amazing Sarie is doing..

We are tuckered out now and are going to bed. Sarie slept most of the day but was active for a few hours this evening. She wanted to be held most of the time.

UPDATE 3:00 PM 4 April

The little darling is doing amazing! She woke me up from a nap at 12:30. She was whining and I could hear her even though I was sleeping deeply.

I picked her up and took her to her puppy pad. She used it again and then ate some more of her Breakfast. I gave her once a day pain meds orally with a syringe. She took it just fine.

A few minutes ago she got restless so I gave her some more food. To my surprise she ate again!

She is making a miraculous recovery!

UPDATE 10:30 AM 4 April

Miss Sarie had a wonderful visit at the Vet this morning. They are amazed at how well she is doing. Her heart is strong, her surgical wound looks good.... There was nothing negative about her at all! Her catheter was removed and she was sent home with me to continue her recovery.

She is an amazing little old gal! Thanks everyone for all your emails, kind words, and prayers. They were a great help to both Miss Sarie and me...

UPDATE 7:15 AM 4 April

Miss Sarie slept well last night. She woke up a couple of times crying. I rubbed her and she fell back to sleep. This morning she used the puppy pad for the first time since the surgery. She also ate a very good breakfast of FROMM's Shredded Duck Entree. She wasn't interested in water so I syringed Pedialyte slowly into her mouth. She accepted it fine. We will be leaving for the Vet's office in about a 1/2 hour.

UPDATE 8:00 PM 3 April

Miss Sarie and I arrived home about 15 minutes ago. She ate almost her normal dinner portion. She is sitting on my lap resting very comfortably. I think sleep will be very light for me tonight!

In the morning at 8:00 we will go back up to the Vet's so she can be checked out. Depending on how she is doing, she may stay for a day of fluids. Her IV catheter is still in so it will easy to set up her drip bag.

UPDATE 4:00 PM 3 April

Miss Sarie survived the surgery. They almost lost her on the table. Her oxygen levels dropped dangerously low. Her uterus was ruptured. Dr. Kawasaki worked fast. He was in and out very quickly. She came to and stabilized fast. She started kicking up a fuss very soon after the surgery. They came out to get me because they knew she wanted me. They are going to let her come home with me tonight because they realize that she is better off with me than at a closed Vet office tonight. I will update more later. I have many pictures to load.

UPDATE 6:00 AM 3 April

Miss Sarie made it through the night comfortably. As soon as we came downstairs she went potty on her pad, drank some water, and started her usual whining at me to pick her up. I woke up several times through the night and laid my hand on her to check her breathing. I am very frightened but hopeful. We will be leaving the house in about 2 hours to go the Old Bridge Veterinary Hospital where Dr. Putts will put in her IV. Dr. Kawasaki will come in at noon and start the surgery. She has not deteriotated over the last 36 hours. I believe she is stronger.

UPDATE 6:30 PM 2 April

Miss Sarie and I stopped at the park on the way to her Vet appointment. Given her grave condition she is actually doing quite well. The two Vet's I spoke with today are not sugar coating her condition. The bottom line is without surgery she will not survive. And she may not survive the surgery or postoperative recovery period. She goes into surgery midday tomorrow. She has to be at the Vet's by 8:30 for IV fluids. They want to make sure she is well hydrated before surgery. They are going to allow me to stay with her while she waits for surgery. I feel much better about that. She does not like me to leave her. Leaving her at home is one thing but in a scary strange place she would be distraught. She ate a wonderful dinner tonight and is resting comfortably on my lap as I type this.

FYI-Pyometra is a disease of the uterus. It is compared to acute appendicitis in humans because both are essentially empyemas within an abdominal organ. It involves the Uterus in unspayed female dogs. Treatment of choice is an emergency spay.

Original Comment

Miss Sarie is very sick. She needs everyone's thoughts and prayers. Yesterday I noticed that she had a pus discharge from her vulva. Given that she has been diagnosed with early kidney disease, I didn't dare wait until this morning to take her to the Vet. They believe she has Pyometra. It is unknown if Sarie was ever spayed. She has never gone into heat in the 2.5 years she has been with me. Even given that they wanted to take her into emergency surgery. They gave me 3 choices, give her antibiotics, emergency surgery, or euthanize. Several of my rescue friends dropped everything and came to the hospital. They reminded me that I have always said no heroics, that I just want to keep her happy and comfortable for whatever time she has left. The odds of her making it through the surgery were not good. Not to mention Woodbridge Animal Hospital's estimate was 1700 dollars. I opted for the antibiotics. Her white blood cell count was 59,000 with 16,000 being the high end of normal. This morning there is no pus and she is eating and drinking. She is also being her demanding primadonna self.

All of my favorite vets are unavailable today. The rescue vet (Dr. Cunningham) van is in the shop today. She can see Miss Sarie tonight. I took a clean catch urine into Old Bridge Vet this morning. I just received a call from them and they said there are a lot of white blood cells in the urine. They also believe she needs surgery because of the white blood cell count. I feel like I am going to just die...

Please keep us in your thoughts and prayers as I try to do what is best for Miss Sarie. Dr. Kawasaki is willing to come in tomorrow on his day off to do the surgery. Dr. Cunningham may be able to do it tonight. I don't want to do this but it is the only chance she has. My heart is breaking.

Ngā Manaaki by Anton Forde by siberfi

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Ngā Manaaki is a site-specific installation, inspired by the land and philosophy of Brick Bay.

Composed of a formation of 44 individual contemporary pou with a commanding presence on the hillside, this artwork explores the concept of manaakitanga – a broad and expansive term encompassing the notions of support, care, protection, hospitality, respect and generosity. Perhaps the most profound meaning in the Brick Bay context is the act of caretaking, whether it is for the whenua, for others, or one’s own wellbeing.

As Forde explains:

“The whakapapa / genealogy of this work is grounded in the philosophy of Brick Bay…the Didsbury whānau, the whenua, the reality of sustainability and the connecting mahi toi are all relevant aspects when we link the ability to leave a legacy to our whānau and in turn the wider world. At present we are seeing a real shift in our approach to using land and water as a resource. At Brick Bay I feel this approach has been embedded in whenua / land and tangata / people for many years, and the legacy is whakapapa.”

The pou are carved from sustainably sourced Australian hardwoods ((jarrah, ironbark, eucalyptus) and the dazzling spectrum of colour creates movement and vibrancy across the installation. The varying shades give each pou a unique identity, together with the wood grains which roam over the pou like fingerprints. Furthermore, the distinctive poise and pose of each figure, the carved korowai tāniko (cloak design) and the individual pounamu taonga (greenstone pendants) are marks of self-expression and individualism. There is a deliberate move away from uniformity; rather there is a celebration of diversity, and we are reminded that the subtleties of a person such as expression and gesture are what make up their character.

HYENES & RATS by robert dragot

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'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations HYENA & RATS On the new work of Robert Aliaj DRAGOT A CERTAIN DEGREE OF FICTION. 'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations . Media are the most powerful predators on our small planet and media travel at the speed of media.It has its own logic.The other thing with media is that it exists as data or pure information and that it doesn't make any distinction between 'good 'or 'bad' ingredients. Only the reader does put the ethical full stop here. And the reader has to be protected or needs a certain kind of immunity in order to surf beyond risk.Because surfing is risky business and that is probably part of the message the artist wants us to understand. Because this daily 'tsunami' or non-stop flow of information is larger than we ,as adults,can digest and one does not need to be introduced in contemporary human behavior to understand that copy-cat attitudes often lead to exponential dramas such as high school shootings or 'hidden' agendas for group suicides (as was the case in Japan a couple of years ago).The point is often children are badly hit by the wrong contents.They simply are incapable to de-contectextualize and put it in a rational perspective. Fragilised people pay a great deal of attention towards the slightest change in the media and are as such more easily exploited.We all were introduced in the subtle strategies sooner or later.Part of growing up.. The artist has been gradually selecting images from the web .Images (stills and cellular videoshots) depicting "indoor" violence .Images which were meant to be consulted and commented by the same sort of people that throw them on this insiders 'stage'. This information, because of its illigal and illicit content is often taken off the web (read censored) under governmental or corporate pressure.It could indeed lead to embarassing incidents between governments or stimulate massive crowds in the streets if well conducted. In this endless stream of visual data ,the artist has saved and selected on 'You Tube' a small series of brutal videostills where Greek policemen were forcing Roma or Albanian youngsters (2 young men) to hit each other in the face harder and harder, under the amused eyes of the servicemen which are supposed to represent the law and order of a respectable member of the European Union.The cellular shots make one think of the pop song and videopiece "True Faith" once realised by New Order in the 80's where in some sort of choreography people were hitting each other in the face..or less popular the performance "Rythm 0 1974"by Marina Abramovic where she assigned a passive role to herself, with the public being the force which would act on her and gradually use more and more violence against her, enjoying the kick of the forbidden.. The You Tube images Dragot luckily saved(before they were removed) were not intended as a popsong neither as an artistic performance but where filmed by policemen with their private cell-phones and shortly after flung on the internet as the worst taste trophies imaginable .These youngsters were publicly exposed in a merciless orgy of cruelty. Now the information is one thing, treating the information is another thing,treating the information in an intelligent and emotionally balanced artwork is a completely different mission. Dragot started to select the crude 'matter' or 'matière première'(found footage on the net) and to sculpt it socially and artistically in order to slide it in collective memory by a rather fresh and funny (read cynical) strategy.Turning them into cartoons.. Doing so ,he manages to expand the dialogue towards a larger group of society . He refuses to pinpoint the artwork as the next cheap sensational micro scandal in the over-and-done-with academy of shock.(dating form the period BC read "before Crisis"). He devoids the sequence of images (selected stills from the shock video posted) of any recognisable realistic detail and turns the reality into a certain degree of fiction:a cartoon which transposes the action on a different level.Thus the artist decides to vehiculise the information into this fragile target we call children . Children are confronted with violence to an up-to-now unknown degree (useless to draw the lifelong list of video-games,movies,ads,newsflashes not to forget the most subtle of all: reality and needless to say that heaps of books treat this rather spooky subject and discussion panels turn in circles circumventing the real topic:the measurable impact of violence on the mind of the exposed child). Here in the Tirana Museum Dragot has draw huge size stills in a cartoon-like sequence of 6 or 8 images , life size, that is to say the average size of a just-not-teenager . The drawnings (stills sequence) on the wall are emptied of their short historical dimension of a drama which happened in protected police quarters in some capital city (Dragot says" it could be anywhere" .The kids only find the black outlines. On the floor of the museum ,lots of little boxes of 'multi-talent pencil' or wax crayons in a predefined range of colours. The piece is a large sort of "colorbook" and the children have to color in the various segments of the drawings as shown in the pinned up example.. A couple of schoolclasses are invited in the afternoon to color on the walls of this museum, and in the evening ,the piece is shown to the larger public. Has the violence been hidden or substracted out of the raw material (you tube cellular phone videos) and softened in order to protect the children or is the ultimate goal of the art project to accustom the kids to little doses of violence and maybe rediscover the true content?And where is that true content? It seems that the freshly and "disney colored" drawings warn us seriously for the highly manipulated way in which encapsulated violence might reach us since all violence is not visual,but rather subtly merchandised and consumable even for the most innocent sweeny toddlers. Extremely important is the fact that the artist has not forgotten the origin of his found footage and in an adjacent space,the visitor is confronted by the rawness and brutality of the lift off images for the project.The adult side of the piece?The true content? The visitor indeed goes the other way round just as the salmon swims up the river and therefore the result is much harder to take in.Black and white becomes color and color becomes video. This wake-up is directed to the conscience of the adult and leaves him critically behind with it..vision and sound this time.. koen wastijn november 2009

aNarvik-fjord+town by tisdalem2001