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Mandalay is the second-largest city and the last royal capital of Burma. Located 716 km north of Yangon on the east bank of the Irrawaddy River, the city has a population of 1,225,553 (2014 census).
Mandalay is the economic hub of Upper Burma and considered the centre of Burmese culture. A continuing influx of Chinese immigrants, mostly from Yunnan, in the past twenty years, has reshaped the city's ethnic makeup and increased commerce with China. Despite Naypyidaw's recent rise, Mandalay remains Upper Burma's main commercial, educational and health center.
ETYMOLOGY
The city gets its name from the nearby Mandalay Hill. The name is probably a derivative of a Pali word, although the exact word of origin remains unclear. The root word has been speculated to be mandala, referring to circular plains or Mandara, a mountain from Hindu mythology.
When it was founded in 1857, the royal city was officially named Yadanabon (ရတနာပုံ, [jədənàbòʊɴ]), a loan of the Pali name Ratanapūra (ရတနပူရ) "City of Gems." It was also called Lay Kyun Aung Myei (လေးကျွန်းအောင်မြေ, [lé dʑʊ́ɴ àʊɴ mjè], "Victorious Land over the Four Islands") and Mandalay Palace (မြနန်းစံကျော်, [mja̰ náɴ sàɴ tɕɔ̀], "Famed Royal Emerald Palace").
HISTORY
EARLY HISTORY
Like most former (and present) capitals of Burma, Mandalay was founded on the wishes of the ruler of the day. On 13 February 1857, King Mindon founded a new royal capital at the foot of Mandalay Hill, ostensibly to fulfill a prophecy on the founding of a metropolis of Buddhism in that exact place on the occasion of the 2,400th jubilee of Buddhism.The new capital city site was 66 km2 in area, surrounded by four rivers. The plan called for a 144-square block grid patterned citadel, anchored by a 16 square block royal palace compound at the center by Mandalay Hill. The 413-hectare citadel was surrounded by four 2,032 m long walls and a moat 64 m wide, 4.6 m deep. At intervals of 169 m along the wall, were turrets with gold-tipped spires for watchmen. The walls had three gates on each side, and five bridges to cross the moat. In addition, the king also commissioned the Kuthodaw Pagoda, the Pahtan-haw Shwe Thein upasampada hall, the Thudamma"Good Dharma" zayats (IPA: [zəjaʔ]) or public houses for preaching Buddhism and a library for the Pāli Canon.
In June 1857, the former royal palace of Amarapura was dismantled and moved by elephants to the new location at the foot of Mandalay Hill, although construction of the palace compound was officially completed only two years later, on Monday, 23 May 1859.
For the next 26 years, Mandalay was to be the last royal capital of the Konbaung Dynasty, the last independent Burmese kingdom before its final annexation by the British Empire. Mandalay ceased to be the capital on 28 November 1885 when the conquering British sent Thibaw Min and his queen Supayalat into exile, ending the Third Anglo-Burmese War.
COLONOAL MANDALAY (1885–1948)
While Mandalay would continue to be the chief city of Upper Burma during the British colonial rule, the commercial and political importance had irreversibly shifted to Yangon. The British view on the development of Mandalay (and Burma) was mainly with commercial intentions. While rail transport reached Mandalay in 1889, less than four years after the annexation, the first college in Mandalay, Mandalay College, was not established until 40 years later, in 1925. The British looted the palace, with some of the treasures still on display in the Victoria and Albert Museum, also renaming the palace compound Fort Dufferin and used it to billet troops.
Throughout the colonial years, Mandalay was the centre of Burmese culture and Buddhist learning, and as the last royal capital, was regarded by the Burmese as a primary symbol of sovereignty and identity. Between the two World Wars, the city was Upper Burma's focal point in a series of nationwide protests against the British rule. The British rule brought in many immigrants from India to the city. In 1904–05, a plague caused about one-third of the population to flee the city.
During World War II, Mandalay suffered the most devastating air raids of the war. On April 3, 1942, during the Japanese conquest of Burma, the Imperial Japanese Army Air Service carried out an extensive assault on the city. As the city was defenseless and its firefighting were weak that had been lost in the earlier bombing and that they met no opposition from the British RAF as all its aircraft had by now been withdrawn to India, three-fifths of the houses were destroyed and 2,000 civilians were killed. Many again fled the city when the city was under Japanese occupation from May 1942 to March 1945. The palace citadel, turned into a supply depot by the Japanese, was burnt to the ground by Allied bombing; only the royal mint and the watch tower survived. (A faithful replica of the palace was rebuilt in the 1990s.)
CONTEMPORARY MANDALAY (1948–present)
After the country gained independence from Britain in 1948, Mandalay continued to be the main cultural, educational and economic hub of Upper Burma. Until the early 1990s, most students from Upper Burma went to Mandalay for university education. Until 1991, Mandalay University, the University of Medicine, Mandalay and the Defence Services Academy were the only three universities in Upper Burma. Only a few other cities had "Degree Colleges" affiliated with Mandalay University that offered a limited number of subjects. Today, the city attracts a fraction of students as the military government requires students to attend their local universities in order to reduce concentration of students in one place.
In November 1959, Mandalay celebrated its centennial with a festival at the foot of Mandalay Hill. Special commemorative stamps were issued.
During Ne Win's isolationist rule (1962–1988), the city's infrastructure deteriorated. By the early 1980s, the second largest city of Burma resembled a town with low-rise buildings and dusty streets filled mostly with bicycles. In the 1980s, the city was hit by two major fires. In May 1981, a fire razed more than 6,000 houses and public buildings, leaving more than 36,000 homeless. On 24 March 1984, another fire destroyed 2,700 buildings and made 23,000 people homeless.
Fires continue to plague the city. A major fire destroyed Mandalay's second largest market, Yadanabon Market, in February 2008, and another major fire in February 2009 destroyed 320 homes and left over 1600 people homeless.
The 1980s fires augured a significant change in the city's physical character and ethnic makeup. Huge swaths of land left vacant by the fires were later purchased, mostly by the ethnic Chinese, many of whom were recent immigrants from Yunnan. The Chinese influx accelerated after the current State Peace and Development Council came to power in 1988. With the Burmese government turning a blind eye, many Chinese immigrants from Yunnan (and also from Sichuan) poured into Upper Burma in the 1990s and many openly ended up in Mandalay. In the 1990s alone, about 250,000 to 300,000 Yunnanese are estimated to have migrated to Mandalay. Today, ethnic Chinese people are believed to make up about 30%–40% of the city's population, and are a major factor in the city's doubling of population from about 500,000 in 1980 to one million in 2008. Chinese festivals are now firmly embedded in the city's cultural calendar. It is a common Burmese complaint that Mandalay is becoming little more than a satellite of China and that the romance of old Mandalay is long gone
The Chinese are largely responsible for the economic revitalization of the city centre, now rebuilt with apartment blocks, hotels and shopping centres, and returning the city to its role as the trading hub connecting Lower Burma, Upper Burma, China and India. The Chinese dominance in the city center has pushed out the rest to the suburbs. The urban sprawl now encompasses Amarapura, the very city King Mindon left some 150 years ago. Mandalay celebrated its 150th birthday on 15 May 2009, at precisely 4:31:36 am.
Despite the rise of Naypyidaw, the country's capital since 2006, Mandalay remains Upper Burma's main commercial, educational and health center.
AROUND THE CITY
Atumashi Monastery: The "Atumashi kyaung", which literally means "inimitable vihara", is also one of the well known sights. The original structure was destroyed by a fire in 1890 though the masonry plinth survived. It was indeed an inimitable one in its heyday. The reconstruction project was started by the government on 2 May 1995 and completed in June 1996.
Buddha's Replica Tooth Relic Pagoda: One of the Buddha's Sacred Replica Tooth Relics was enshrined in the Mandalay Swedaw Pagoda on Maha Dhammayanthi Hill in Amarapura Township. The pagoda was built with cash donations contributed by the peoples of Burma and Buddhist donors from around the world under the supervision of the State Peace and Development Council. The authorities and donors hoisted Buddha's Replica Tooth Relic Pagoda Mandalay's Shwe Htidaw (sacred golden umbrella), Hngetmyatnadaw (sacred bird perch vane) and Seinhpudaw (sacred diamond bud) on 13 December 1996.
Kuthodaw Pagoda (The World's Biggest Book): Built by King Mindon in 1857, this pagoda modeled on the Shwezigon Pagoda at Nyaung-U, is surrounded by 729 upright stone slabs on which are inscribed the entire Tipiṭaka as edited and approved by the Fifth Buddhist council. It is popularly known as "World's largest book" for its stone scriptures.
Kyauktawgyi Pagoda: Near the southern approach to Mandalay Hill stands the Kyauktawgyi Buddha image built by King Mindon in 1853–78. The Image was carved out of a huge single block of marble. Statues of 80 arahants are assembled around the Image, twenty on each side. The carving was completed in 1865.
Mahamuni Buddha Temple: The image of Gautama Buddha at Mahamuni Buddha Temple is said to have been cast in the life-time of the Gautama Buddha and that the Buddha embraced it seven times, thereby bringing it to life. Consequently, devout Buddhists hold it to be alive and refer to it as the Mahamuni Sacred Living Image. Revered as the holiest pagoda in Mandalay, It was built by King Bodawpaya in 1784. The image in a sitting posture is 3.8 m high. As the image was brought from Rakhine State, it was also called the Great Rakhine Buddha. The early morning ritual of washing the Face of Buddha Image draws a large crowd of devotees everyday. The Great Image is also considered as the greatest in Burma next to Shwedagon Pagoda. A visit to Mandalay is incomplete without a visit to Mahamuni Pagoda.
Mandalay Hill: The hill has for long been a holy mount. Legend has it that the Buddha, on his visit, had prophesied that a great city would be founded at its foot. Mandalay Hill, 230 metres in elevation, commands a magnificent view of the city and surrounding countryside. The construction of a motor road to reach the hill-top has already been finished.
Mandalay Palace: The whole magnificent palace complex was destroyed by a fire during World War II. However, the finely built palace walls, the city gates with their crowning wooden pavilions and the surrounding moat still represent an impressive scene of the Mandalay Palace, "Mya-nan-san-kyaw Shwenandaw", which has been rebuilt using forced labor. A model of the Mandalay Palace, Nanmyint-saung and Mandalay Cultural Museum are located inside the Palace grounds.
Shwenandaw Monastery: Famous for its intricate wood carvings, this monastery is a fragile reminder of the old Mandalay Palace. Actually, it was a part of the old palace later moved to its current site by King Thibaw in 1880.
The Chinese Temple of Mandalay: The Chinese Temple, well known for its old artistic architectures and cultural artifacts, reflects Mandalay's old history.
Yadanabon Zoological Gardens: A small zoo between the Mandalay Palace and Mandalay Hill. It has over 300 species and is notably the only zoo to have Burmese roofed turtles.
WIKIPEDIA
A mega structure filled with thousands of years of Human kind history, culture, exquisite art, and reminders of various achievement and milestones in different aspects of our species development.
For me, Le Louvre was a portal through time, each room took me back centuries in history; from the prime of the Egyptian Pharaohs era in 3000 BC passing by the Greek philosophical and intellectual prosperity in the 400 BC to the scientific and architectural contributions of the Muslim Empire, and ending in political and social transformation of the Renaissance, and the French Revolution.
It was pretty obvious that my 6.5 hrs trip inside the louver was not enough to cover its rich 5000 years of history.
One of my favorite barns in the thumb. here in winter, of February 2016. Caseville area, Michigan. Feb. 17th, 2016.
At 10:44 PM on October 2, 2022 the Los Angeles City Fire Department responded to a reported structure fire in the 400 block of Carroll Canal in the Venice neighborhood of Los Angeles.
Firefighters arrived to find a three story home (under renovation/new construction) fully involved in fire and exposing adjacent homes.
Over 100 firefighters battled for one hour and 20 minutes to extinguish the blaze. Two homes (the address of origin and an adjacent home) were destroyed while three additional homes sustained damage to the eves from the ember cast.
LAFD Arson section responded, per protocol for an incident of this size, and the investigation is ongoing.
© Photo by Jacob Valin
LAFD Incident 100222-1620
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
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.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
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
—--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
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
A visit to Caernarfon Castle in North Wales. It was here in 1911 and 1969 that the Prince of Wales was inaugurated (Prince Edward later Edward VIII and the current Prince of Wales, Prince Charles).
Caernarfon Castle (Welsh: Castell Caernarfon), often anglicized as Carnarvon Castle, is a medieval fortress in Caernarfon, Gwynedd, north-west Wales cared for by Cadw, the Welsh Government's historic environment service. There was a motte-and-bailey castle in the town of Caernarfon from the late 11th century until 1283 when King Edward I of England began replacing it with the current stone structure. The Edwardian town and castle acted as the administrative centre of north Wales and as a result the defences were built on a grand scale. There was a deliberate link with Caernarfon's Roman past and the Roman fort of Segontium is nearby.
While the castle was under construction, town walls were built around Caernarfon. The work cost between £20,000 and £25,000 from the start until the end of work in 1330. Despite Caernarfon Castle's external appearance of being mostly complete, the interior buildings no longer survive and many of the building plans were never finished. The town and castle were sacked in 1294 when Madog ap Llywelyn led a rebellion against the English. Caernarfon was recaptured the following year. During the Glyndŵr Rising of 1400–1415, the castle was besieged. When the Tudor dynasty ascended to the English throne in 1485, tensions between the Welsh and English began to diminish and castles were considered less important. As a result, Caernarfon Castle was allowed to fall into a state of disrepair. Despite its dilapidated condition, during the English Civil War Caernarfon Castle was held by Royalists, and was besieged three times by Parliamentarian forces. This was the last time the castle was used in war. Caernarfon Castle was neglected until the 19th century when the state funded repairs. In 1911, Caernarfon Castle was used for the investiture of the Prince of Wales, and again in 1969. It is part of the World Heritage Site "Castles and Town Walls of King Edward in Gwynedd".
A Grade I listed building.
History
Begun in 1283 and still incomplete when building work ceased c1330. Built for Edward I of England, it combined the roles of fortification, palace and administrative centre. A motte and bailey castle had been built here in the late C11 by Earl Hugh of Chester, although it became a residence of Welsh princes, including Llewelyn ap Gruffudd, after the Welsh regained control of Gwynedd by 1115. The English conquest of N Wales followed quickly after the death of Llewelyn ap Gruffudd in 1282 and Caernarfon was built to consolidate the English gains. Edward I employed James of St George as his architect, who had previously been employed by Philip of Savoy and had designed for him the fortress-palace of St Georges d'Esperanche. James also directed the building other castles for Edward I, including Harlech, Conwy and Beaumaris, using English craftsmen and labourers. The design of Caernarfon Castle echoed the walls of Emperor Constantine's Roman city of Constantinople, which also has polygonal towers and banded stonework, and was thus intended by Edward to be an expression of imperial power. Edward I and Queen Eleanor visited Caernarfon in 1284 and it was said that their son, Edward, the first English prince of Wales, was born at the castle in 1284.
Construction of the castle was integrated with the construction of town walls protecting the newly established borough, the town being situated on the N side of the castle. By 1292 the southern external façade of the castle was probably complete, while on the N side the castle was protected by a ditch and the walled town. The castle was damaged during an uprising in 1294 led by Madog ap Llewelyn, but Edward I swiftly regained control of Caernarfon and the castle, where restoration work began in 1295. The uprising had demonstrated the need to complete the castle's defences on the town side, which were largely built in the period 1295-1301. Work subsequently continued at a slower pace in the period 1304-30 and included the completion of the towers, including the Eagle Tower which was completed 1316-17 and in 1316 the timber-framed 'Hall of Llewelyn', the Welsh prince's residence at Conwy, was dismantled and shipped to Caernarfon. The upper portion of the King's Gate was constructed in 1321 and included a statue of Edward of Caernarfon, who had been crowned Edward II in 1307.
The castle was garrisoned for nearly 2 centuries but was increasingly neglected as hostilities softened from the C16 onwards. The castle was garrisoned for Charles I during the Civil War but was surrendered to the Parliamentarians in 1646. In the C18 the castle became one of the most celebrated of ruins in Wales, which began its present phase as tourist attraction and ancient monument. Restoration was undertaken in the final quarter of the C19 under the direction of Sir Llewelyn Turner, Deputy Constable. In 1908 ownership passed from the Crown to the Office of Works and restoration work continued. This included the reinstatement of floors in most of the towers and reinstatement of the embattled wall walks by 1911. The castle was the venue for the investiture of both C20 Princes of Wales, in 1911 and 1969.
Exterior
Constructed of coursed limestone with darker stone banding to the S and E external façades between the Eagle Tower and NE Tower. The plan is polygonal, resembling a figure of 8, and constructed around an upper and a lower ward in the form of curtain walls and mainly 3-stage polygonal towers with basements (in contrast to the round towers of the town walls). The structure is in 2 main phases. The earlier is the S side, from and including the Eagle Tower to the NE Tower, was constructed mainly in the period 1283-1292, while the N side facing the walled town was built after the uprising of 1294. The curtain walls are embattled with loops to the merlons and a wall walk. Openings are characterised by the frequent use of shouldered lintels, giving rise to the alternative term 'Caernarfon lintel', and 2-centred arches. The towers have reinstated floors of c1911 on original corbels. The outer walls have arrow loops. Windows are mainly narrow single-light, but some of the mullioned windows incorporate transoms.
The principal entrance is the 3-storey King's Gate on the N side. It is reached across the ditch by a modern segmental-arched stone bridge with stone steps to the outer side, replacing the medieval drawbridge. The King's Gate has polygonal towers with 2-light windows to the outer facets in the middle stage and 2-light windows in the upper stage. The entrance is recessed behind a segmental moulded arch. It has a 2-centred arch beneath string courses and 2-light transomed window. Above the main arch is a statue of Edward II in a canopied niche with flanking attached pinnacles.
To the R is the outer wall of the kitchens and then the Well Tower, of 3 stages with basement. The Well Tower has a higher polygonal turret reinstated in the late C19 and full-height square projection on the W side housing the well shaft. The tower has 2-light windows in the middle and upper stages.
The Eagle Tower at the W end is the largest of the towers, having been designed to accommodate the king's lieutenant. It has 3 stages with basement and 3 higher polygonal turrets. The battlements are enriched by carved heads and eagles, although much weathered. On the N side are 2-light windows and an attached stub wall with drawbridge slot. This is the planned water gate through which water-borne supplies were intended to be conveyed to the basement of the Well Tower at high tide, but it was not completed. It has polygonal responds to the gate, a portcullis slot and 2 superimposed windows between the basement and ground-floor levels. On the N side is a flight of stone steps to an arched doorway at basement level. This postern was the main entrance for those approaching by sea. On the S side the curtain wall is built on exposed bedrock and the Queen's Tower, Chamberlain Tower and the Black Tower each have a single higher polygonal turret. The outer faces have only narrow loops. On the W side of the Chamberlain Tower are stone steps to a doorway under a shouldered lintel that led into the great hall. On the E side of the Black Tower is the shorter polygonal Cistern Tower, with the unfinished Queen's Gate at the SE end. Between the Chamberlain Tower and Black Tower the curtain wall is stepped in, from which point there is a substantial raked stone plinth continuing around to the NE Tower. The Queen's Gate has double polygonal towers linked by a straight wall above the gateway, while the openings are all narrow loops. The gateway is raised above a high basement storey (and would have been reached by the building of a massive stone ramp) and is recessed beneath a segmental arch with murder holes. The Watch Tower to the N is narrower and higher than the remaining towers, beyond which is the 2-stage NE Tower, which has a 2-light window. Returning along the N side, which was built after 1295, the curtain wall and the 4-stage Granary Tower incorporate 2-light windows.
The King's Gate has murder holes to the vault and porters' rooms to the L and R, leading to the interior. Internally the castle is planned around an upper ward on the E side and a lower ward on the W side. Through the entrance passage is a 2-storey projection on the R (now housing a shop), the S side of which retains 2 portcullis slots and a vault springer, indicating that a second entrance was built here, although it no longer survives above the foundations. Above the main gate is a former chapel, which retains its original piscina. The upper storey hall has window seats. On the W side of the King's Gate are the foundations of the kitchens in the lower ward, in which are 2 round foundations for copper cauldrons and springer of a former vault. The Well Tower does not have reinstated floors, but in each storey a fireplace and garderobe are retained and in the second stage is a small kitchen above the well chamber. The fireplaces all differ in detail: in the basement is a segmental arch, the lower storey a tripartite lintel, the second stage a projecting lintel on corbels with raked hood, and chamfered lintel to the upper stage. The tower has a full-height newel stair. The basement is reached by external stone steps. Between the Well Tower and Eagle Tower is a restored fireplace with a raked hood in a chamber whose outline walls are visible.
The Eagle Tower has stone steps to the basement to the L of the main doorway, both lower stage and basement having pointed doorways. The upper stages have 2-light windows similar to the outer faces. The thick walls incorporate mural passages and stairs. In the lower stage is a large fireplace with raked hood and a small octagonal chamber that probably served as a chapel. The great chamber in the second stage also has an octagonal chapel, which retains a stoup or piscina. Between the Eagle Tower and the NE Tower the curtain wall and towers have mural passages in addition to the wall walk and generally have stone steps in either straight flights to the wall walks or newel stairs, and most chambers in the towers have associated garderobes. The Queen's Tower, known as the 'Banner Tower' in the C14, and the Chamberlain Tower have chambers in each storey with small square subsidiary chambers that probably served as chapels, and 2-light windows. The Queen's Tower has 3 octagonal chimney shafts behind the parapet. In the Chamberlain Tower the lower storey retains a fireplace with shouldered lintel. Both towers are occupied by the museum of the Royal Welch Fusiliers. Between Queen's Tower and Chamberlain Tower are the foundations of the great hall, while the 2 superimposed mural passages in the curtain wall have 2-light windows that formerly opened into the hall.
The Black Tower is smaller than the other towers and has only single chambers in each stage, with cambered fireplace in the upper chamber, and 2-light windows. The Cistern Tower has a vaulted hexagonal chamber beneath an open stone-lined rainwater tank visible on the wall walk. In the unfinished Queen's Gate the position of porters' rooms is discernible in the flanking towers of which the S has a lintelled fireplace while both have garderobes. Portcullis slots and murder holes are in the passage. The upper storey over the passage was to have been a hall but was not completed. The Watch Tower is entered by a doorway at the wall walk level only.
The NE Tower is simpler with single chambers in each stage, as is the Granary Tower, which incorporates a well shaft and has a fireplace with raked hood in the upper stage. Between the NE Tower and the King's Gate the curtain wall has corbels representing former buildings built against the curtain, and its mullioned windows incorporate window seats.
Reasons for Listing
Listed grade I as one of the finest medieval castles in Wales, and unique in its royal associations.
Scheduled Ancient Monument CN 079.
World Heritage Site.
The floors within the Eagle Tower.
The Story of the Prince of Wales
Game of Crowns.
Giant chess set - King Edward I (in white and his Knights) vs the Welsh Princes (in red). The winner was Edward I in 1282, and castle construction started 1283!
Welsh Princes (red) vs the English army of Edward I (white).
Ancient Termessos.....is one of the most interesting ancient sites in Antalya. It's located inside the National Park to the north-west of the province, approximately 34 km (21 miles) from the city center. It's a spectacular Psidian city built on the Taurus Mountains at approximately 1050 meters (3445 feet) above the sea level. Today, the site is mentioned in Unesco's Tentative List for World Heritage. The ancient city of Termessos was found by the Solyms who lived in the Psidia region, who have been cited in the Iliad by Homer in connection with the legend of Bellerophon. We don't know much about the Solyms but probabily they were of Anatolian origin, unlike other settlers in the region who usually came from the sea. The city is one of the few places which Alexander the Great couldn't capture it despite his siege in 333 B.C. because it was an eagle's nest built in a valley hidden between the mountains. Even today, in order to visit the city you should have a good physical condition to walk uphill, but when you reach the site the views are breathtaking. During the 2nd century B.C. the Termessians fought against neighbouring Lycian cities and then against Isinda who were their other neighbour in Psidia region. They also fought against Serge, another ancient city near Attaleia (modern day Antalya). Termessos had good relations with Attalos II, king of Pergamon. During the Roman empire, Termessos became a Roman ally so they received their independent status from the Senate in 71 B.C. The inhabitants abandoned the city in the 5th century A.D. after a gradual decline and earthquakes which destroyed its aqueduct and thus their water supply. Termessos is one of the best preserved ancient cities of Turkey. The most significant remains of the site are the fortified city walls, towers, king's road, Hadrian's gate, agora, stoas, gymnasium, heroon, odeon, theatre, tombs, temples, houses, shops, cisterns and drainage system. All of this is located in a dense vegetation, surrounded by typical Mediterranean flora. Amongst the sarcophagi, there are the ones of Alcates, the rival of Antigonos who was one of Alexander's generals, and of Agatemeros. The views from the theater are magnificent, which had a capacity of five thousand spectators. So far, there isn't any scientific excavations held in the city.
Troels Kirk's impressive On30 Coast Line Railroad layout includes some impressive, deep scenes, such as this view of the town of Convers. An industrial area occupies the foreground, while the main street is in the distance.
Troels is our guest on Episode 46.