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Rusty Structure at Abilene, Kansas, USA
Industrial Buildings and Structures USA, photographed during a storm chasing trip made in May 2022
Along a main heavily trafficked city artery, a stately, opulent home harks back the Italian palazzo where paintings and sculptures where ever-present within and outside the structure. Here the owner found the perfect pediment to glorify the birth of Jesus to be viewed at 60km/hr.
This old building is very near to RAF Lakenheath, Suffolk. I wonder if it has some relation to the airfield during WWII? Seen in October 2024.
Edited ISS070 image of the Richat Structure in Mauritania.
Original metadata: GMT064_14_17_Jasmin Moghbeli_SN1067_Africa Eye of Sahara to Southern and Antarctic Lands 50-500mm
As i was so excited about tutorial that Veronique published yesterday, i couldn't go to sleep not trying this out and tried to do some for my elephants. I used just ordinary tools from manicure set.
War so begeistert von dem Tutorial von Veronique, dass ich nicht ruhig schlafen gehen konnte und hab' was ein bisschen ausprobiert. Hab' Paar Instrumente aus meinem Maniküre Set benutzt.
Longshan Temple (龍山寺) is one of the oldest temples in Taipei. It was built by the Hokkien migrants from China in 1738 as a branch of the temple from their homeland, where it was built at the foot of the dragon mountain, or longshan.
The original structure was destroyed by fires and earthquakes and bombed by the Americans during World War II. So the current temple is quite new.
The temple is an impressive sight, with the intricately carved figures on the roofs of the various buildings. But what is truly impressive is that it is very much a part of the religious and cultural life of the residents. When we got there, there was an ongoing ceremony and so the temple was filled with people chanting and presenting their offerings to the deities in the temple.
A brief visit to the Bothwell Lodge today. Way too hot to stay and walk the trail!
Pentax K-S2, SMC Pentax-A 70-210/4
For the Pentax Forums Single in September Challenge
The Menai Suspension Bridge (Welsh: Pont y Borth or Pont Grog y Borth) is a suspension bridge spanning the Menai Strait between the island of Anglesey and the mainland of Wales. Designed by Thomas Telford and completed in 1826, it was the world's first major suspension bridge. The bridge still carries road traffic and is a Grade I listed structure.
The Menai Strait was created by glacial erosion along a line of weakness associated with the Menai Strait Fault System. During a series of Pleistocene glaciations (that lasted from about 2,580,000 to 11,700 years ago), a succession of ice-sheets moved from northeast to southwest across Anglesey and neighbouring Gwynedd, scouring the underlying rock and creating a series of linear bedrock hollows. The deepest of these channels eventually became flooded by the sea as the ice sheets receded, forming the Menai Strait.
As Anglesey has been an island throughout recorded human history, the only way to reach it was by crossing the strait. However, this has always been a dangerous endeavour because there are four strong tidal flows each day generated by the twice daily tides. These flow in both directions through the strait, creating strong currents and whirlpools. Despite the dangers, ferries operated all along the Menai Strait, carrying passengers and goods between the island and the mainland. In 1785, a boat carrying 55 people ran aground at the southern end of the Menai Strait in a strong gale and began to sink. Before a rescue boat from Caernarfon could reach the stricken vessel it sank, and only one person survived.
Additionally, the main source of income on Anglesey was from the sale of cattle, and to move them to the markets of the mainland, including London, they had to be driven into the water and encouraged to swim across the Strait. This often resulted in the loss of valuable animals.
In 1800, Ireland joined Great Britain in the Act of Union. This led rapidly to an increase in people travelling between London and Holyhead en route to Dublin. In 1815, the British Parliament passed an Act to build the Holyhead Road with responsibility for the project given to civil engineer Thomas Telford. Despite some difficult geographical obstacles to overcome (e.g. Snowdonia and the Menai Strait), the route was chosen because Holyhead was the principal port for ferries to Dublin as it was the closest point to Ireland. After Telford had completed a survey of the route from London to Holyhead, he proposed that the best option was to build a bridge over the Menai Strait from a point near Bangor on the mainland to the village of Porthaethwy (now commonly known as Menai Bridge) on Anglesey.
The site for the bridge was chosen because it had tall banks that would be high enough to allow the passage of sailing ships to pass underneath. Telford proposed that a suspension bridge would be the best option because it would have a span wide enough to cross the fast flowing waters of the Strait at this point. His recommendation was accepted by Parliament.
Construction of the bridge, to Telford's design, began in 1819 with the towers on either side of the strait. These were constructed from Penmon limestone and were hollow with internal cross-walls. Then came the sixteen huge chain cables to support the 176-metre (577 ft) span, each consisting of five parallel bars of wrought iron links, for a total of 80 iron bars and 935 links per cable.
The chains were carried over the piers on cast iron saddles with rollers, allowing for movement caused by temperature changes.[6] Each chain measured 522.3 metres (1,714 ft) and weighed 121 long tons (123 t; 136 short tons). Their suspending power was calculated at 2,016 long tons (2,048 t; 2,258 short tons). To avoid rusting between manufacture and use, the iron was soaked in linseed oil and later painted. On both sides of the strait the chains were conveyed through three tunnels into a chamber cut into the rock, where they were held in place by 9 feet (2.7 m) bolts resting in cast iron sockets. William Hazledine was contracted to supply the necessary wrought and cast iron, and each chain had four adjusting links to compensate for differences in length caused by imperfections during the production of the large number of separate links.
Workmen assembled the majority of the chains link by link on-site. This was carried out on platforms near the tunnel mouths until the chains, supported by scaffolding, reached the tops of the piers. A cradle capable of carrying two workers was then suspended from each tower and links were lifted up and attached by the men in the cradles until the chains reached water level. The final central portion of each chain was floated across on a 400 feet (120 m) raft and lifted via a system of pulleys by 150 men.
The bridge was opened to much fanfare on 30 January 1826. It reduced the 36-hour journey time from London to Holyhead by 9 hours.
The roadway was only 24 feet (7.3 m) wide and, without stiffening trusses, soon proved highly unstable in the wind. The deck of the Menai Bridge was strengthened in 1840 by W. A. Provis and, in 1893, the entire wooden surface was replaced with a steel deck designed by Sir Benjamin Baker.[10] Over the years, the 4½-ton weight limit proved problematic for the increasing freight industry and in 1938 the original wrought iron chains were replaced by a new arrangement of steel ones, without the need to close the bridge. In 1999, the bridge was closed for around a month to resurface the road and strengthen the structure, requiring all traffic to cross via the nearby Britannia Bridge.
On 28 February 2005, one carriageway of the bridge was closed for six months, restricting traffic to a single carriageway. The bridge was reopened to traffic in both directions on 11 December 2005 after its first major repainting in 65 years.[11] It has been proposed by the British government as a candidate World Heritage Site.
Operation Menai Bridge is the code name for plans related to the death of King Charles III.
On 21 October 2022, the bridge was shut without prior notice. A statement from the Welsh Government said it was closed for essential maintenance work following safety recommendations from structural engineers. Initially, the bridge was shut completely in both directions, but it was soon reopened to foot passengers and dismounted cyclists. The Welsh Government stated the bridge will remain closed for 14 to 16 weeks, reopening in early 2023.
On 1st February 2023 the bridge was reopened in both directions, but subject to a seven and a half ton weight restriction. A date for full remedial work has yet to be set.
The Anglesey Coastal Path passes below the bridge and the Wales coast path passes over the bridge and joins the mainland path at the bridge end.. The bridge has a memorial to the Aberfan disaster victims on the Anglesey side.
The nearest settlement is the town of Menai Bridge. A representation of the Menai Bridge inside a border of railings and stanchions is featured on the reverse of British one-pound coins minted in 2005.
The Menai Strait is a strait which separates the island of Anglesey from Gwynedd, on the mainland of Wales. It is situated between Caernarfon Bay in the south-west and Conwy Bay in the north-east, which are both inlets of the Irish Sea. The strait is about 25 km (16 mi) long and varies in width from 400 metres (1,300 ft) between Fort Belan and Abermenai Point to 7.5 kilometres (4.7 mi) between Puffin Island (Ynys Seiriol) and Penmaenmawr. It contains several islands, including Church Island (Ynys Tysilio), on which is located St Tysilio's Church.
The strait is bridged by the Menai Suspension Bridge (Pont Grog y Borth), which was completed in 1826 to a design by Thomas Telford and carries the A5 road, and the Britannia Bridge (Pont Britannia) a truss arch bridge which carries the North Wales Main Line and the A55 road; it is an adaptation of a tubular railway bridge completed in 1850 to a design by Robert Stephenson, which was severely damaged by a fire in 1970.
The differential tides at the two ends of the strait cause very strong currents which create dangerous conditions. One of the most hazardous areas is the Swellies (Pwll Ceris), between the two bridges, where rocks near the surface cause over-falls and local whirlpools. This was the site of the loss of the training ship HMS Conway in 1953. Entering the strait at the Caernarfon end is also hazardous because of the frequently shifting sand banks that make up Caernarfon bar.
The present day channel is a result of glacial erosion of the bedrock along a line of weakness associated with the Menai Strait Fault System. During a series of Pleistocene glaciations a succession of ice-sheets moved from northeast to southwest across Anglesey and neighbouring Gwynedd scouring the underlying rock; the grain of which also runs in the same direction. The result was a series of linear bedrock hollows across the region, the deepest of which was flooded by the sea as world ocean levels rose at the end of the last ice age (c. 10,000 BC).
The name Menai comes from Welsh main-aw or main-wy, meaning "narrow water."
According to Heimskringla, the 11th century Norse-Gael ruler Echmarcach mac Ragnaill plundered in Wales with his friend, the Viking Guttorm Gunnhildsson. However they started quarreling over the plunder and fought a battle at the Menai Strait. Guttorm won the battle by praying to Saint Olaf and Echmarcach was killed.
In the 12th century, a later Viking raid and battle in the Menai Strait are recounted in the Orkneyinga Saga as playing an important role in the life of Magnus Erlendsson, Earl of Orkney – the future Saint Magnus. He had a reputation for piety and gentleness. Refusing to fight in the raid on Anglesey, he stayed on board his ship, singing psalms. This incident is recounted at length in the 1973 novel Magnus by Orcadian author George Mackay Brown, and in the 1977 opera, The Martyrdom of St Magnus by Peter Maxwell Davies. The first of the opera's nine parts is called "The Battle of Menai Strait".
From the 1890s until 1963, the pleasure steamers of the Liverpool and North Wales Steamship Company would ply their main route from Liverpool and Llandudno along the Menai Strait, and around Anglesey. After the company's voluntary liquidation in 1962, P and A Campbell took over the services for a while. Now, every year for two weeks in the summer, the MV Balmoral undertakes a similar service. The most recent service appears to have been Feb-2021, since when the vessel has been taken to dry dock for essential repair work
The tidal effects observed along the banks of the strait can be confusing. A rising tide approaches from the south-west, causing the water in the strait to flow north-eastwards as the level rises. The tide also flows around Anglesey until, after a few hours, it starts to flow into the strait in a south-westerly direction from Beaumaris. By this time, the tidal flow from the Caernarfon end is weakening and the tide continues to rise in height but the direction of tidal flow is reversed. A similar sequence is seen in reverse on a falling tide. This means that slack water between the bridges tends to occur approximately one hour before high tide or low tide.
Theoretically it is possible to ford the strait in the Swellies at low water, spring tides when the depth may fall to less than 0.5 metres (1.6 ft). However, at these times a strong current of around 4.8 knots (8.9 km/h) is running, making the passage extremely difficult. Elsewhere in the strait the minimum depth is never less than 2 metres (6.6 ft) until the great sand flats at Lavan Sands are reached beyond Bangor.
The tides carry large quantities of fish, and the construction of fish weirs on both banks and on several of the islands, helped make the Strait an important source of fish for many centuries. Eight of the numerous Menai Strait fish weirs are now scheduled monuments.
Because the strait has such unusual tidal conditions, coupled with very low wave heights because of its sheltered position, it presents a unique and diverse benthic ecology.
The depth of the channel reaches 15 metres (49 ft) in places, and the current can exceed 7 knots (13 km/h). It is very rich in sponges.
The existence of this unique ecology was a major factor in the establishment of Bangor University's School of Ocean Sciences at Menai Bridge, as well as its status as a special area of conservation with marine components. The waters are also a proposed Marine Nature Reserve.
The same unique ecology and geomorphology has let to a number of designations of SSSIs along the strait including Glannau Porthaethwy, the ivy–oak–ash woodland on the southern shore (Coedydd Afon Menai) and Lavan Sands (Welsh: Traeth Lafan). The banks of the Menai Straits are home to the critically endangered Menai Whitebeam. The plant is an extremely rare species of Sorbus only found in this part of North Wales. The population contains about 30 plants, and most of these are thought to be mature.
Much of the land on Anglesey at the eastern end of the strait is designated as an area of outstanding natural beauty.
Opened in 1826, the Menai Bridge is a 417 metre long, 30 metre tall suspension bridge, and the first bridge to cross the Menai Strait. The bridge, designed by Thomas Telford, carries the A5, a road which connects the capital London to Holyhead on Holy Island. The bridge itself is grade one listed and a candidate to become a UNESCO World Heritage Site.
Opened in 1850, the Britannia Bridge was built as a rail bridge connecting Anglesey to the mainland. The bridge, 461 metres long and 40 metres tall, carries the North Wales Coast Line connecting Holyhead to Crewe. Between 1970 and 1972, the bridge underwent a redesign in order to accommodate what would later become the A55, a dual carriageway connecting Chester to Holyhead. The bridge is grade two listed and is the more common crossing point out of the two bridges.
Since 2007, a Third Menai Crossing had been proposed by government to tackle congestion on the other two crossings. However, on 14 February 2023, the Welsh Government announced that the project would not go ahead, citing efforts to reduce car usage, its environmental impact and it being a "blot" on the landscape. Issues with financing the project was later stated by the government as another reason why the project could not proceed. Lee Waters, deputy minister for climate change, later stated the crossing could be considered again as part of a wider review into the infrastructure of North Wales, rather than individually.
The Isle of Anglesey is a county off the north-west coast of Wales. It is named after the island of Anglesey, which makes up 94% of its area, but also includes Holy Island (Ynys Gybi) and some islets and skerries. The county borders Gwynedd across the Menai Strait to the southeast, and is otherwise surrounded by the Irish Sea. Holyhead is the largest town, and the administrative centre is Llangefni. The county is part of the preserved county of Gwynedd.
The Isle of Anglesey is sparsely populated, with an area of 276 square miles (710 km2) and a population of 68,900. After Holyhead (12,103), the largest settlements are Llangefni (5,500) and Amlwch (3,967). The economy of the county is mostly based on agriculture, energy, and tourism, the latter especially on the coast. Holyhead is also a major ferry port for Dublin, Ireland. The county has the second-highest percentage of Welsh speakers in Wales, at 57.2%, and is considered a heartland of the language.
The island of Anglesey, at 676 square kilometres (261 sq mi), is the largest in Wales and the Irish Sea, and the seventh largest in Britain. The northern and eastern coasts of the island are rugged, and the southern and western coasts are generally gentler; the interior is gently undulating. In the north of the island is Llyn Alaw, a reservoir with an area of 1.4 square miles (4 km2). Holy Island has a similar landscape, with a rugged north and west coast and beaches to the east and south. The county is surrounded by smaller islands; several, including South Stack and Puffin Island, are home to seabird colonies. Large parts of the county's coastline have been designated an Area of Outstanding Natural Beauty.
The county has many prehistoric monuments, such as Bryn Celli Ddu burial chamber. In the Middle Ages the area was part of the Kingdom of Gwynedd and native Principality of Wales, and the ruling House of Aberffraw maintained courts (Welsh: llysoedd) at Aberffraw and Rhosyr. After Edward I's conquest of Gwynedd he built the castle at Beaumaris, which forms part of the Castles and Town Walls of King Edward in Gwynedd World Heritage Site. The Menai Strait to the mainland is spanned by the Menai Suspension Bridge, designed by Thomas Telford in 1826, and the Britannia Bridge, originally designed by Robert Stephenson in 1850.
The history of the settlement of the local people of Anglesey starts in the Mesolithic period. Anglesey and the UK were uninhabitable until after the previous ice age. It was not until 12,000 years ago that the island of Great Britain became hospitable. The oldest excavated sites on Anglesey include Trwyn Du (Welsh: Black nose) at Aberffraw. The Mesolithic site located at Aberffraw Bay (Porth Terfyn) was buried underneath a Bronze Age 'kerb cairn' which was constructed c. 2,000 BC. The bowl barrow (kerb cairn) covered a material deposited from the early Mesolithic period; the archeological find dates to 7,000 BC. After millennia of hunter-gather civilisation in the British Isles, the first villages were constructed from 4000 BC. Neolithic settlements were built in the form of long houses, on Anglesey is one of the first villages in Wales, it was built at Llanfaethlu. Also an example permanent settlement on Anglesey is of a Bronze Age built burial mound, Bryn Celli Ddu (English: Dark Grove Hill). The mound started as a henge enclosure around 3000 BC and was adapted several times over a millennium.
There are numerous megalithic monuments and menhirs in the county, testifying to the presence of humans in prehistory. Plas Newydd is near one of 28 cromlechs that remain on uplands overlooking the sea. The Welsh Triads claim that the island of Anglesey was once part of the mainland.
After the Neolithic age, the Bronze Age began (c. 2200 BC – 800 BC). Some sites were continually used for thousands of years from original henge enclosures, then during the Iron Age, and also some of these sites were later adapted by Celts into hillforts and finally were in use during the Roman period (c. 100 AD) as roundhouses. Castell Bryn Gwyn (English: White hill castle, also called Bryn Beddau, or the "hill of graves") near Llanidan, Anglesey is an example of a Neolithic site that became a hillfort that was used until the Roman period by the Ordovices, the local tribe who were defeated in battle by a Roman legion (c. 78 AD). Bronze Age monuments were also built throughout the British Isles. During this period, the Mynydd Bach cairn in South-west Anglesey was being used. It is a Beaker period prehistoric funerary monument.
During the Iron Age the Celts built dwellings huts, also known as roundhouses. These were established near the previous settlements. Some huts with walled enclosures were discovered on the banks of the river (Welsh: afon) Gwna near. An example of a well-preserved hut circle is over the Cymyran Strait on Holy Island. The Holyhead Mountain Hut Circles (Welsh: Tŷ Mawr / Cytiau'r Gwyddelod, Big house / "Irishmen's Huts") were inhabited by ancient Celts and were first occupied before the Iron Age, c. 1000 BC. The Anglesey Iron Age began after 500 BC. Archeological research discovered limpet shells which were found from 200 BC on a wall at Tŷ Mawr and Roman-era pottery from the 3rd to 4th centuries AD. Some of these huts were still being used for agricultural purposes as late as the 6th century. The first excavation of Ty Mawr was conducted by William Owen Stanley of Penrhos, Anglesey (son of Baron Stanley of Alderley).
Historically, Anglesey has long been associated with the druids. The Roman conquest of Anglesey began in 60 CE when the Roman general Gaius Suetonius Paulinus, determined to break the power of the druids, attacked the island using his amphibious Batavian contingent as a surprise vanguard assault and then destroyed the shrine and the nemeta (sacred groves). News of Boudica's revolt reached him just after his victory, causing him to withdraw his army before consolidating his conquest. The island was finally brought into the Roman Empire by Gnaeus Julius Agricola, the Roman governor of Britain, in AD 78. During the Roman occupation, the area was notable for the mining of copper. The foundations of Caer Gybi, a fort in Holyhead, are Roman, and the present road from Holyhead to Llanfairpwllgwyngyll was originally a Roman road. The island was grouped by Ptolemy with Ireland ("Hibernia") rather than with Britain ("Albion").
After the Roman departure from Britain in the early 5th century, pirates from Ireland (Picts) colonised Anglesey and the nearby Llŷn Peninsula. In response to this, Cunedda ap Edern, a Gododdin warlord from Scotland, came to the area and began to drive the Irish out. This was continued by his son Einion Yrth ap Cunedda and grandson Cadwallon Lawhir ap Einion; the last Irish invaders were finally defeated in battle in 470.
During the 9th century, King Rhodri Mawr unified Wales and separated the country into at least 3 provinces between his sons. He gave Gwynedd to his son, Anarawd ap Rhodri, who founded the medieval Welsh dynasty, The House of Aberffraw on Anglesey, also his other son Cadell founded House of Dinefwr in Deheubarth, and another son, Merfyn ruled Powys (where the House of Mathrafal emerged). The island had a good defensive position, and so Aberffraw became the site of the royal court (Welsh: Llys) of the Kingdom of Gwynedd. Apart from devastating Danish raids in 853 and 968 in Aberffraw, it remained the capital until the 13th, after Rhodri Mawr had moved his family seat from Caernarfon and built a royal palace at Aberffraw in 873. This is when improvements to the English navy made the location indefensible. Anglesey was also briefly the most southerly possession of the Norwegian Empire.[citation needed]
After the Irish, the island was invaded by Vikings — some raids were noted in famous sagas (see Menai Strait History) such as the Jómsvíkinga— and by Saxons, and Normans, before falling to Edward I of England in the 13th century. The connection with the Vikings can be seen in the name of the island. In ancient times it was called "Maenige" and received the name "Ongulsey" or Angelsoen, from where the current name originates.
Anglesey (with Holy Island) is one of the 13 historic counties of Wales. In medieval times, before the conquest of Wales in 1283, Môn often had periods of temporary independence, when frequently bequeathed to the heirs of kings as a sub-kingdom of Gwynedd, an example of this was Llywelyn ap Iorwerth (Llywelyn I, the Great c. 1200s) who was styled the Prince of Aberffraw. After the Norman invasion of Wales was one of the last times this occurred a few years after 1171, after the death of Owain Gwynedd, when the island was inherited by Rhodri ab Owain Gwynedd, and between 1246 and about 1255 when it was granted to Owain Goch as his share of the kingdom. After the conquest of Wales by Edward I, Anglesey became a county under the terms of the Statute of Rhuddlan of 1284. Hitherto it had been divided into the cantrefi of Aberffraw, Rhosyr and Cemaes.
During 1294 as a rebellion of the former house of Aberffraw, Prince Madog ap Llywelyn had attacked King Edward I's castles in North Wales. As a direct response, Beaumaris Castle was constructed to control Edward's interests in Anglesey, however, by the 1320s the build was abandoned and never complete. The castle was besieged by Owain Glyndŵr in the early 15th century. It was ruinous by 1609, however, the 6th Viscount Bulkeley had purchased the castle from Crown the in 1807 and it has been open to the public under the guardianship of the Crown ever since 1925.
The Shire Hall in Llangefni was completed in 1899. During the First World War, the Presbyterian minister and celebrity preacher John Williams toured the island as part of an effort to recruit young men as volunteers. The island's location made it ideal for monitoring German U-Boats in the Irish Sea, with half a dozen airships based at Mona. German POWs were kept on the island. By the end of the war, some 1,000 of the island's men had died on active service.
In 1936 the NSPCC opened its first branch on Anglesey.
During the Second World War, Anglesey received Italian POWs. The island was designated a reception zone, and was home to evacuee children from Liverpool and Manchester.
In 1971, a 100,000 ton per annum aluminum smelter was opened by Rio Tinto Zinc Corporation and British Insulated Callender's Cables with Kaiser Aluminum and Chemical Corporation as a 30 per cent partner.
In 1974, Anglesey became a district of the new county of Gwynedd. The Local Government (Wales) Act 1994 abolished the 1974 county and the five districts on 1 April 1996, and Anglesey became a separate unitary authority. In 2011, the Welsh Government appointed a panel of commissioners to administer the council, which meant the elected members were not in control. The commissioners remained until an election was held in May 2013, restoring an elected Council. Before the period of direct administration, there had been a majority of independent councillors. Though members did not generally divide along party lines, these were organised into five non-partisan groups on the council, containing a mix of party and independent candidates. The position has been similar since the election, although the Labour Party has formed a governing coalition with the independents.
Brand new council offices were built at Llangefni in the 1990s for the new Isle of Anglesey County Council.
Anglesey is a low-lying island with low hills spaced evenly over the north. The highest six are Holyhead Mountain, 220 metres (720 ft); Mynydd Bodafon, 178 metres (584 ft); Mynydd Llaneilian, 177 metres (581 ft); Mynydd y Garn, 170 metres (560 ft); Bwrdd Arthur, 164 metres (538 ft); and Mynydd Llwydiarth, 158 metres (518 ft). To the south and south-east, the island is divided from the Welsh mainland by the Menai Strait, which at its narrowest point is about 250 metres (270 yd) wide. In all other directions the island is surrounded by the Irish Sea. At 676 km2 (261 sq mi), it is the 52nd largest island of Europe and just five km2 (1.9 sq mi) smaller than the main island of Singapore.
There are a few natural lakes, mostly in the west, such as Llyn Llywenan, the largest on the island, Llyn Coron, and Cors Cerrig y Daran, but rivers are few and small. There are two large water supply reservoirs operated by Welsh Water. These are Llyn Alaw to the north of the island and Llyn Cefni in the centre of the island, which is fed by the headwaters of the Afon Cefni.
The climate is humid (though less so than neighbouring mountainous Gwynedd) and generally equable thanks to the Gulf Stream. The land is of variable quality and has probably lost some fertility. Anglesey has the northernmost olive grove in Europe and presumably in the world.
The coast of the Isle of Anglesey is more populous than the interior. The largest community is Holyhead, which is located on Holy Island and had a population of 12,103 at the 2021 United Kingdom census. It is followed by Amlwch (3,697), Llanfair-Mathafarn-Eithaf (3,085), and Menai Bridge (3,046), all located on the coast of the island of Anglesey. The largest community in the interior of Anglesey is Llangefni (5,500), the county town; the next-largest is Llanfihangel Ysgeifiog (1,711).
Beaumaris (Welsh: Biwmares) in the east features Beaumaris Castle, built by Edward I during his Bastide campaign in North Wales. Beaumaris is a yachting centre, with boats moored in the bay or off Gallows Point. The village of Newborough (Welsh: Niwbwrch), in the south, created when townsfolk of Llanfaes were relocated for the building of Beaumaris Castle, includes the site of Llys Rhosyr, another court of medieval Welsh princes featuring one of the United Kingdom's oldest courtrooms. The centrally localted Llangefni is the island's administrative centre. The town of Menai Bridge (Welsh: Porthaethwy) in the south-east, expanded to accommodate workers and construction when the first bridge to the mainland was being built. Hitherto Porthaethwy had been one of the main ferry ports for the mainland. A short distance from the town lies Bryn Celli Ddu, a Stone Age burial mound.
Nearby is the village with the longest name in Europe, Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch, and Plas Newydd, ancestral home of the Marquesses of Anglesey. The town of Amlwch lies in the north-east of the island and was once largely industrialised, having grown in the 18th century to support a major copper-mining industry at Parys Mountain.
Other settlements include Cemaes, Pentraeth, Gaerwen, Dwyran, Bodedern, Malltraeth and Rhosneigr. The Anglesey Sea Zoo is a local attraction offering looks at local marine wildlife from common lobsters to congers. All fish and crustaceans on display are caught round the island and placed in habitat reconstructions. The zoo also breeds lobsters commercially for food and oysters for pearls, both from local stocks. Sea salt (Halen Môn, from local sea water) is produced in a facility nearby, having formerly been made at the Sea Zoo site.
Landmarks
Anglesey Motor Racing Circuit
Anglesey Sea Zoo near Dwyran
Bays and beaches – Benllech, Cemlyn, Red Wharf, and Rhosneigr
Beaumaris Castle and Gaol
Cribinau – tidal island with 13th-century church
Elin's Tower (Twr Elin) – RSPB reserve and the lighthouse at South Stack (Ynys Lawd) near Holyhead
King Arthur's seat – near Beaumaris
Llanfairpwllgwyngyll, one of the longest place names in the world
Malltraeth – centre for bird life and home of wildlife artist Charles Tunnicliffe
Moelfre – fishing village
Parys Mountain – copper mine dating to the early Bronze Age
Penmon – priory and dovecote
Skerries Lighthouse – at the end of a low piece of submerged land, north-east of Holyhead
Stone Science Museum – privately run fossil museum near Pentraeth
Swtan longhouse and museum – owned by the National Trust and managed by the local community
Working windmill – Llanddeusant
Ynys Llanddwyn (Llanddwyn Island) – tidal island
St Cybi's Church Historic church in Holyhead
Born in Anglesey
Tony Adams – actor (Anglesey, 1940)
Stu Allan – radio and club DJ
John C. Clarke – U.S. state politician (Anglesey, 1831)
Grace Coddington – creative director for US Vogue (Anglesey, 1941)
Charles Allen Duval – artist and writer (Beaumaris, 1810)
Dawn French – actress, writer, comedian (Holyhead, 1957)
Huw Garmon – actor (Anglesey, 1966)
Hugh Griffith – Oscar-winning actor (Marianglas, 1912)
Elen Gwdman – poet (fl. 1609)
Meinir Gwilym – singer and songwriter (Llangristiolus, 1983)
Owain Gwynedd – royal prince (Anglesey, c. 1100)
Hywel Gwynfryn – radio and TV personality (Llangefni, 1942)
Aled Jones – singer and television presenter (Llandegfan, 1970)
John Jones – amateur astronomer (Bryngwyn Bach, Dwyran 1818 – Bangor 1898); a.k.a. Ioan Bryngwyn Bach and Y Seryddwr
William Jones – mathematician (Llanfihangel Tre'r Beirdd, 1675)
Julian Lewis Jones – actor, known for his portrayal of Karl Morris on the Sky 1 comedy Stella (Anglesey, 1968)
John Morris-Jones – grammarian and poet (Llandrygarn, 1864)
Edward Owen – 18th-century artist, notable for letters documenting life in London's art scene
Goronwy Owen – 18th-century poet (Llanfair-Mathafarn-Eithaf, 1723)
Osian Roberts – association football player and manager (Bodffordd)
Tecwyn Roberts – NASA aerospace engineer and Director of Networks at Goddard Space Flight Center (Llanddaniel Fab, 1925)
Hugh Owen Thomas – pioneering orthopaedic surgeon (Anglesey, 1836)
Ifor Owen Thomas – operatic tenor, photographer and artist (Red Wharf Bay, 1892)
Sefnyn – medieval court poet
Owen Tudor – grandfather of Henry Tudor, married the widow of Henry V, which gave the Tudor family a claim on the English throne (Anglesey, c. 1400).
Kyffin Williams – landscape painter (Llangefni, 1918)
William Williams – recipient of the Victoria Cross (Amlwch, 1890)
Andy Whitfield – actor (Amlwch, 1971)
Gareth Williams – employee of Britain's GCHQ signals intelligence agency (Anglesey, 1978)
A Structure Synth creation rendered with Kerkythea
Script (if anybody is interested)
set background #5274A2
skyship
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1 * {fy} 1 * {x -33.5 y -2.5 z -39.2}rotor
{y -5 z -29.7 x -0.85 s 5 color #800000}sphere
// ship
rule skyship{
{y -0 z -1 s 0.7 1 2.5 }body
{y -0 z -30 s 2 1 1 }body
{y -0.3 z -20 s 1 1.5 1 }body
{x 31 z -35 s 0.5 1 0.5 }body
{x -33.5 z -35 s 0.5 1 0.5 }body
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{ ry 10 x 1.7 } body
}
rule RingPart{
{ y -1.5 rx -90 } roof
{ rx -30 z 2 s 2.2 4 1 color #80331a} box
}
rule roof{
{z 4 } panel
{z 6.9 rx 40 s 2.8 2 0.1 color #80331a} box
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rule panel{
{ y -2 z 1.1 ry 90 s 4 0.5 0.5 color gray b 0.2} box
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#define blades 10
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rule rotor md blades {
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{ ry 360/blades x 0.4} rotor
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"Bridge 1"
STRUCTURES is a series of generative art pieces the explores the constructions of our world by taking photographs of man-made and natural structures and placing them into a new structure. This process semi-randomly fragments and rearranges the photographs into a grid of my design. I'll often run the images through this process several times, using various grid structures along the way.
Programs used: Lightroom, Photoshop, Processing
Node structure visualizing text structure; a text comprises of paragraphs, each paragraph contains sentences, sentences often are compilations of subsentences and these consist of words. And words have letters.
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