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ONE DAY SOON ... A lovely tallship may appear ... to invite you to sail with us, to help build Sustainable Communities, around the world. -- We hope you'll be excited and eager to join in!!! -- Want to pitch in with more than just photos, to work with us to form a Foundation, then collectively charter -- then buy --an oceangoing tallship? Let's sail the world together to teach Sustainable living!!! -- While we cannot voyage right to an inland community, we can sail up the nearest broad river, or to a near coastal port!!!! ~ So come 'n daydream with us to help build on the future ... Say 'Yes!' with your FAVE star [given above], if you like this idea and will help it happen in positive action ways!!! -- We will soon form a core team to build our FOUNDATION format and its documentation ... Do help, please.

 

ANYONE KNOW FOR SURE? ~ [Is this Hamilton Island, or Daydream Island?] This lovely seafront boasts both moorings and a cool, low-key shopping plaza plus gazebo right on the foreshore, to overlook the waterfront yachts. -- These delightful islands are in North Queensland's ever-thrilling Great Barrier Reef Whitsunday Islands. ~ While living at nearby Airlie Beach, I took a day cruise to the Whitsundays, an island group which includes both Daydream and Hamilton islands. We also passed close to other intriguing places. This scene is likely of Hamilton or perhaps Daydream Island's foreshore shopping complex.

 

EVERDAY IS 'WHITSUNDAY' IN QUEENSLAND'S FABULOUS BARRIER REEF ISLES!! : Hamilton is growing rapidly. See this: - www.hamiltonislandvilla.com.au/header.jpg The Island sees a vibrant future in its annual August Audi Hamilton Island Race Week, held in 2008 from Friday 22 August – Saturday 30 August 2008 - www.hamiltonislandraceweek.com.au/, together with Hamilton Island's leading position in Queensland's renowned love of ocean sailing! Now the Island will host the magical and exciting new annual South Pacific Cup !! - www.sail-world.com/index_n.cfm?nid=45562.

[Camera: Nikon F90, with scan upload to flickr.]

 

SAIL THROUGH LIFE ... !! ~ Those who love sailing, may enjoy this other image from my Airlie Beach sojourn : www.flickr.com/photos/melcir-selfportraits-2006/223579828...

 

Join "*** Volunteers in EARTHCARE Actions!! ~ 'FIRST - THE EARTH!' Photo-ART [AWARD + Fav 2] Community " which is focussed on helping transform our planet, via SUSTAINABLE LIVING and strong COMMUNITY SPIRIT. Sustainable living functionality greatly benefits by exchange of inter-group community models and discussion .... The contemporary SPIRIT OF COMMUNITY has been much eroded by aggressive corporate commerce, using a 'designed for-profit' up-marketing style. To envigorate 'sustainable liveability' in community development, a 21st Century 'Community Spirit' enduring healthy lifestyle transformative refit is imperative.

 

First we must focus on what we WANT. Next, we must reach out to make it happen!! -- No magic wand will create a paradise on Earth. It is born in the collective mind, nurtured in the united heart, birthed on the landscape by vast communal goodwill, united to global collective enterprise, and completed by determined community spirit. If we have all this, we will bring it about!!!! -- The collective will of the people of this planet can achieve fantastic lifestyles for the future, only by giving away the old self. -- Who are we now? -- A planet of perfect beings who are always living our full potential? -- Or people with lots of self-work to do to be better, healthier persons, a kinder people, a more active and essential populace?

 

For perfect self-empowerment the 3 basic tools are LOVE ~ WISDOM ~ ENERGY [POWER!] ... To find Love share joyful wisdom, energy and love. To gain Power share harmonious love, wisdom, and power. To find Wisdom, share uplifting love, energising power and kind wisdom. -- To build COMMUNITY SPIRIT, be a great VOLUNTEER, and you'll be working on all aspects of self-empowerment !!!! -- Plus you'll have the most fun !!! -- There is no better way to build a paradise on Earth which all will love to be part of. -- We need a planet that works, now and forever -- or as near to forever as is possible!!!

 

"*** Volunteers in EARTHCARE Actions!! ~ FIRST - THE EARTH!" GROUP seeks to co-develop futuristic sustainable community "LIFE in harmony with NATURE". We seek developer-sponsors, plus links to innovative groups, including green alternative transportation concepts, and Community centers. This image forms part of our presentation for the TALLSHIP SAIL TRAINING AWARD, which is our AWARD - INVITE for creators of great images of Ocean Sail training and Marine Education, etc. Join us there, if you wish.

 

HERE'S TO A SUSTAINABLE 'GREEN' 2008 ~ "YEAR OF PLANET EARTH"!!!

 

ECA-FTE is creating a multi-group Earth Foundation for Sustainable living: HABITAT CLEANUP + RESTORATION ~ RECYCLING + TREE-PLANTING ~ Wind + Solar power ECO-COMMUNITIES ~ TALLSHIP SAIL TRAINING, Marine Education, World mangroves protection, eco-tourism, earth-merit industries, green vehicles, organic farms and markets, liveable parks and sports grounds, and neighborhood centers with "COMMUNITY SPIRIT", via fun festivals and fundraisers. Equality, Multi-group Community arts, Self-realization, etc.

 

YOU CAN HELP!! ~ Link FTE to developer-sponsors, or to: innovative bodies, tallship associations, campus clubs, Community centers, Galleries, and volunteer groups. ~ Or get your friends / group to help organize / launch local FTE Photo-Challenges, for "COMMUNITY SPIRIT" & VOLUNTEERS in Earthcare, to help SAVE the planet. - Mel ["EARTH!" groups admin]

 

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From abaft a behemothic Olmec head, corrective on the face of a able-bodied house, a fractional cityscape of hospitals and restaurants can be apparent beyond Loop 335. The able-bodied house, which doubles as a allotment of acreage art, is fabricated of sandbags and a alarm bowl covered in stucco.

 

New Orleans Bourbon Street Painting by Debra Hurd – cityscape painting | cityscape painting

 

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Common altar are generally angry into pieces of art at the Mariposa Apple Association Acreage Trust. The acreage assurance is amid on the armpit of a above bedrock quarry, anchored three afar arctic from the final shops on South Soncy Road.

 

More than 30 years ago, Mariposa was set afar for aggressiveness and acceptable architecture practices. Now, with new leadership, the eyes is evolving.

 

Mariposa now serves as a abode for breadth artists, and those traveling through Amarillo, to admission the accord of the countryside – aloof alfresco a above breadth of advance for the city.

 

“The dream was consistently that it would be an eco-village and that by now, we would accept a lot of barrio and bodies active in them,” said Abby Palmer, citizen and acreage manager. “We are aggravating a altered bend with tourism.”

 

Palmer has lived at Mariposa for three years. Back she’s not animate full-time as a pharmacy technician, she’s active the apartment afresh opened for stays on the acreage through websites like Airbnb and Hipcamp.

 

Guests can hire a allowance in the ICF (insulated accurate form) architecture or a “glamping” covering with an air mattress. Visitors additionally can hire a amplitude to set up their own tent.

 

All stays appear with the anticipation of categorical dusk angle and a star-filled sky.

 

Since aperture up amplitude for visitors beforehand this year, Palmer has accustomed guests from as far as France and China. Abounding are traveling Route 66.

 

“I get to comedy with the acreage and argue bodies from all over the apple that Amarillo doesn’t suck,” said Palmer. “They are like, ‘Wait. What is this place? This is amazing. What are y’all doing?’”

 

Visitors are accustomed by signs from The Dynamite Museum. The art installation, partially adjourned by Stanley Marsh 3, consists of a alternation of antic signs already broadcast through Amarillo.

 

One assurance at the access to Mariposa reads, “I’m still alive.”

 

Rehabilitation of the old signs is one of the art projects currently in the works at the village.

 

Matthew Williams, an aboriginal Dynamite Architecture artist, is arch the activity with his art collective, Invisible Genie. Williams said the signs are a huge draw for breadth artists who appetite to get complex with the eyes of Mariposa.

 

“The signs are the acumen they get here,” he said. “Then we draw them in and accomplish them do added things.”

 

Aside from managing art projects and events, the aggregation in allegation of active the eco-village are tasked with a circadian hurdle – taming the land. Abounding volunteers are asked to advice with acreage aliment in accession to abetment with art projects.

 

“It’s artistic, but we additionally accept the land, which is our acquaintance and our adversary at the aforementioned time,” said Williams.

 

There are alone a scattering of homes on the property, abounding of which bare to be accomplished back a change in administration took abode three years ago. The ICF, the architecture acclimated for rentals and events, bare a catchbasin system, a bath and roof work.

 

The activity captivated the aggregate of their time for years, abrogation little allowance for added projects. As they accept completed some of these amateurish projects, there is now time for art projects and shows.

 

Artist addressee Jon Revett lives on the acreage in a straw-bale house. The 14-foot beam is fabricated of recycled fence copse and the alfresco is covered in bootleg stucco.

 

Revett corrective the mural on the ICF architecture and the Olmec arch on the able-bodied house.

 

He acknowledges that the adversity of active in a acceptable home, or a acreage with low-environmental appulse and advised to use another activity sources, and the antecedent advance appropriate to body one are partially amenable for the abridgement of inquires as to architecture on the land.

 

“Sustainable active is a activity shift,” Revett said. “You accept to get acclimated to actuality a little warmer (and) not demography showers everyday.”

 

But he said the abandon of active alfresco of the burghal is account it.

 

“Most bodies who accept the money to advance in article like that don’t appetite to accord up the conveniences,” he said. “I can attending out my advanced aperture and see for 40 miles. I can watch admirable sunsets. There’s a akin of freedom.”

 

Revett teaches art at West Texas A&M University. He and Williams met as teenagers animate on the Dynamite Architecture signs.

 

The brace alike art shows on the acreage and assignment calm on new pieces of acreage art. They both accept the adorableness of the acreage and the ability of bounded art has the abeyant to change civic angle on artists.

 

“There are bodies who actualize ability and their are bodies who advance culture,” said Williams. “We’re creating culture.”

 

The land-trust encompasses 640 acreage of prairie land. Herds of deer, pronghorn, porcupines, roadrunners, rattlesnakes, quail, hawks and invertebrates roam the land.

 

A allocation of acreage to the arctic of the eco-village was donated to actualize the Wildcat Bluff Attributes Centermost in 1992. Both the eco-village and attributes centermost abide as educational accoutrement for the community. One ambition of the attributes centermost is to administer the acreage as a “living architecture and alfresco classroom.”

 

The aggregation at Mariposa alcove added than the ambition of architecture a amplitude for the bounded art community. They aim to restore the adorableness of the acreage and body a appointment for sustainability.

 

“What we accept here, no one abroad in the apple has,” said Revett. “It’s places like this area change is activity to happen.”

 

Those absorbed in visiting the eco-village are asked to ability out via Facebook (@mariposaamarillo) for tours or advice on upcoming

 

4 Advice That You Must Listen Before Embarking On Cityscape Painting | cityscape painting – cityscape painting

| Allowed for you to my personal blog, with this occasion We’ll teach you about keyword. And today, this is actually the very first image:

 

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The post 4 Advice That You Must Listen Before Embarking On Cityscape Painting | cityscape painting appeared first on Painting Nature.

 

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From abaft a behemothic Olmec head, corrective on the face of a able-bodied house, a fractional cityscape of hospitals and restaurants can be apparent beyond Loop 335. The able-bodied house, which doubles as a allotment of acreage art, is fabricated of sandbags and a alarm bowl covered in stucco.

 

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Landart – Creations in Nature, AmMeer 5 | Creations in Nature – land art | land art

 

Common altar are generally angry into pieces of art at the Mariposa Apple Association Acreage Trust. The acreage assurance is amid on the armpit of a above bedrock quarry, anchored three afar arctic from the final shops on South Soncy Road.

 

More than 30 years ago, Mariposa was set afar for aggressiveness and acceptable architecture practices. Now, with new leadership, the eyes is evolving.

 

Mariposa now serves as a abode for breadth artists, and those traveling through Amarillo, to admission the accord of the countryside – aloof alfresco a above breadth of advance for the city.

 

“The dream was consistently that it would be an eco-village and that by now, we would accept a lot of barrio and bodies active in them,” said Abby Palmer, citizen and acreage manager. “We are aggravating a altered bend with tourism.”

 

Palmer has lived at Mariposa for three years. Back she’s not animate full-time as a pharmacy technician, she’s active the apartment afresh opened for stays on the acreage through websites like Airbnb and Hipcamp.

 

Guests can hire a allowance in the ICF (insulated accurate form) architecture or a “glamping” covering with an air mattress. Visitors additionally can hire a amplitude to set up their own tent.

 

All stays appear with the anticipation of categorical dusk angle and a star-filled sky.

 

Since aperture up amplitude for visitors beforehand this year, Palmer has accustomed guests from as far as France and China. Abounding are traveling Route 66.

 

“I get to comedy with the acreage and argue bodies from all over the apple that Amarillo doesn’t suck,” said Palmer. “They are like, ‘Wait. What is this place? This is amazing. What are y’all doing?’”

 

Visitors are accustomed by signs from The Dynamite Museum. The art installation, partially adjourned by Stanley Marsh 3, consists of a alternation of antic signs already broadcast through Amarillo.

 

One assurance at the access to Mariposa reads, “I’m still alive.”

 

Rehabilitation of the old signs is one of the art projects currently in the works at the village.

 

Matthew Williams, an aboriginal Dynamite Architecture artist, is arch the activity with his art collective, Invisible Genie. Williams said the signs are a huge draw for breadth artists who appetite to get complex with the eyes of Mariposa.

 

“The signs are the acumen they get here,” he said. “Then we draw them in and accomplish them do added things.”

 

Aside from managing art projects and events, the aggregation in allegation of active the eco-village are tasked with a circadian hurdle – taming the land. Abounding volunteers are asked to advice with acreage aliment in accession to abetment with art projects.

 

“It’s artistic, but we additionally accept the land, which is our acquaintance and our adversary at the aforementioned time,” said Williams.

 

There are alone a scattering of homes on the property, abounding of which bare to be accomplished back a change in administration took abode three years ago. The ICF, the architecture acclimated for rentals and events, bare a catchbasin system, a bath and roof work.

 

The activity captivated the aggregate of their time for years, abrogation little allowance for added projects. As they accept completed some of these amateurish projects, there is now time for art projects and shows.

 

Artist addressee Jon Revett lives on the acreage in a straw-bale house. The 14-foot beam is fabricated of recycled fence copse and the alfresco is covered in bootleg stucco.

 

Revett corrective the mural on the ICF architecture and the Olmec arch on the able-bodied house.

 

He acknowledges that the adversity of active in a acceptable home, or a acreage with low-environmental appulse and advised to use another activity sources, and the antecedent advance appropriate to body one are partially amenable for the abridgement of inquires as to architecture on the land.

 

“Sustainable active is a activity shift,” Revett said. “You accept to get acclimated to actuality a little warmer (and) not demography showers everyday.”

 

But he said the abandon of active alfresco of the burghal is account it.

 

“Most bodies who accept the money to advance in article like that don’t appetite to accord up the conveniences,” he said. “I can attending out my advanced aperture and see for 40 miles. I can watch admirable sunsets. There’s a akin of freedom.”

 

Revett teaches art at West Texas A&M University. He and Williams met as teenagers animate on the Dynamite Architecture signs.

 

The brace alike art shows on the acreage and assignment calm on new pieces of acreage art. They both accept the adorableness of the acreage and the ability of bounded art has the abeyant to change civic angle on artists.

 

“There are bodies who actualize ability and their are bodies who advance culture,” said Williams. “We’re creating culture.”

 

The land-trust encompasses 640 acreage of prairie land. Herds of deer, pronghorn, porcupines, roadrunners, rattlesnakes, quail, hawks and invertebrates roam the land.

 

A allocation of acreage to the arctic of the eco-village was donated to actualize the Wildcat Bluff Attributes Centermost in 1992. Both the eco-village and attributes centermost abide as educational accoutrement for the community. One ambition of the attributes centermost is to administer the acreage as a “living architecture and alfresco classroom.”

 

The aggregation at Mariposa alcove added than the ambition of architecture a amplitude for the bounded art community. They aim to restore the adorableness of the acreage and body a appointment for sustainability.

 

“What we accept here, no one abroad in the apple has,” said Revett. “It’s places like this area change is activity to happen.”

 

Those absorbed in visiting the eco-village are asked to ability out via Facebook (@mariposaamarillo) for tours or advice on upcoming

 

5 Facts That Nobody Told You About Land Art | land art – land art

| Allowed to help my own blog, in this occasion I will show you in relation to keyword. And from now on, this is the 1st impression:

 

Landart – Welcome Site, Creations in Nature | Creations in Nature .. | land art

 

The post 5 Facts That Nobody Told You About Land Art | land art appeared first on Painting Nature.

 

:: The Maserati Birdcage 75th. Concept Cars. 2005 Pebble Beach Concours d'Elegance, CA,US.

:: Photo © by Artamia: www.flickr.com/photos/artamia/collections/

apps.gagalabs.com/flickr/interestingby?id=46746900@N04

 

:: The Maserati Birdcage 75th. Pebble Beach 2005

 

:: With the Birdcage 75th, based on the Maserati heritage and on its most advanced mechanics and realized in collaboration with Motorola, Pininfarina revives the storied theme of the true dream car now proposed in a synthesis of the vision of the three companies: exclusive design, sports DNA and technological innovation.

 

:: For 2005, in celebration of its 75th anniversary, Pininfarina has chosen to rekindle creative spirit. The Birdcage 75th is a concept of a road car where everything – style, performance, use and conception of the car – is extreme so as to get the maximum impact on the collective imagination. The car is a futuristic extension of the Maserati brand, and at the same time it serves to reinforce the Tridente’s potent design heritage, and continues its grand tradition of advanced technology enveloped in sporting elegance. Integrating some Motorola technologies make the ‘seamless mobility’ vision real, or the fluidity of the technologies as a subsequent stage of the Internet revolution.

  

:: Concept

 

:: The Birdcage 75th, in homage to the spirit of the dream car era, is based on the road racing chassis of the Maserati MC12 and seeks to capture the ultimate expression of speed, sensuality and elegance – to create a functional and dynamic automotive sculpture. The contrast struck between its organic fluidity and the severe tension of its mechanicals, creates a dynamism seldom realized. The clear goal of breaking away from traditional styling solutions and creating a coherent and unique visual experience, led to a particularly innovative integration of the exterior and interior design and construction. Rather than pen the exterior in a traditional manner, and thereafter by consequence approach the design of the interior, the Birdcage 75th was designed as an integrated singular object.

  

:: The design challenge

 

:: While the main goal of the Birdcage 75th was to push new stylistic boundaries and techniques, the Maserati’s over 700 horsepower V12 engine signified that the design concept had to be true to certain race car ideals. Without limiting the project’s creative potential, the design began with the study of the mechanicals themselves, and how they themselves could relate, and thus communicate with the impending exterior design to create a coherent and seamless object.

 

:: The first necessity became to envelope the mechanicals in the most efficient manner possible. As research has shown, the aerodynamic forms most effectively and frequently applied in race car design are the teardrop and the inverted wing form. With this in mind, the concept of the Birdcage 75th was born. Upon studying the mechanicals, one can see the chassis is naturally blessed by its delta shaped plan view as the small and efficient passenger cell tapers rearward to embrace the engine and drivetrain. So, the concept became clear, a teardrop central volume would encapsulate the passenger cell and the mechanicals creating an extremely streamlined and efficient frontal area. In turn, this central cell is suspended within a vast inverted wing form which maintains an exceptionally low profile to aid in the air flow above and under the vehicle.

 

:: The floating central cell is seamlessly divided into two halves, the upper portion being transparent, and the lower portion serving as a structural aerodynamic skirt. The large transparent area of the upper surface not only grants its occupants outstanding visibility, but allows all of the Maserati mechanicals, from its pushrod suspension to the beautifully crafted carbon fibre inlet trumpets of its V12 engine to be showcased and appreciated.

Staying true to its race car roots, the exterior surfaces are kept as low and uncluttered as possible only to ebb and flow into the four independently pronounced fenders which house the massive alloy wheels. The alloy wheels, which measure an impressive 20’’ (front) and 22’’ (rear) in diameter respectively, are specifically designed to recall the Tridente’s logo, and as on the racing cars, are attached via a single center locking wheel nut. The low undulating exterior has a natural but purposeful fluidity, appearing as if mercury was merely poured over the mechanics. The result is a powerful yet elegant form which, at a mere meter tall, gives the impression of movement even at a standstill.

 

:: Not incidentally, the resulting geometry of volumes is a futuristic extension of the great Maserati race cars of yesteryear, whose bodies stemmed from a simple extruded fuselage onto which the independent fenders were grafted. It is therefore no coincidence the name of the prototype directly recalls the legendary Birdcage Tipo 63. Nicknamed the birdcage due to the radically triangulated tube construction of its chassis, these cars were truly unique in that the chassis and mechanicals were left in view under unusually large transparent front wind screens. The central engine initially mounted was a 4-cylinder 260 HP model later replaced by the V12 3000 developing 320 HP at 8,200 rpm, based on the 350S prototype and the 250F T2 Grand Prix. Over and above fourth place in the Le Mans 24-Hour event, the Tipo 63 also achieved excellent results in 1961 with Walt Hangsen in American races, winning at Bridgehampton, New York and the Elkhart Lake 500-mile in Wisconsin.

 

:: To further underline the Maserati heritage, great care was taken in the rich jewel-like details which contrast the elegant simplicity of its streamlined form. The nose, which like the Quattroporte’s features the traditional trapezoidal Maserati plan view, culminates in the large oval mouth flanked by low horizontal eyes. The gaping mouth adorned by a large chrome trident, feeds the central mounted radiator and brake ducts, as well as acting as a downforce creating wing surface. The lights, developed in partnership with OSRAM Opto Semiconductors, feature the world’s first homologated LED technology headlamps with OSTAR module. The light housings are milled from solid blocks of aluminum and double as cooling ducts for the heat intensive LEDs.

 

:: The rear of the vehicle is characterized by its imposingly deep diffuser, complemented by active aero panels on the upper surface, which raise and lower accordingly to produce the necessary levels of downforce for stability at any speed. When raised, the wings reveal engine bay cooling outlets, which also serve to lower air pressure underneath the wing surface, and thus aid in creating more downforce. The ultra-thin taillamps also utilize the latest LED technology, and feature hot air outlets to aid in engine compartment cooling. Finally, in Maserati tradition, the exhausts are adorned with robust oval tips finished in chrome.

  

:: The interior

 

:: The interior of the vehicle plays an important role in the visual impact and historic ties to Maserati. True to the concept of the car, the interior is an extension of the car itself, seamlessly integrated in the carbon fibre chassis. Glancing through the canopy, one can see the large carbon fibre structure of the nose section, which tapers rearward to embrace the passenger cell. Inserted into the cell is an independent passenger sled partially upholstered with Alcantara and the suspended head up display that doubles as the IP. It is here at the center of the car that we see how the car brings together two worlds: the future oriented technology of Motorola combined with the pure and sometimes raw race DNA and heritage of Maserati.

 

:: The transparent head up display reveals the intelligent core of the car, updated with its surroundings and connected to the future. In contrast with the virtual non physical nature of the display is the triangulated structure that supports it which nostalgically recalls the interior of the Birdcage Tipo 63, essential in its approach and therefore visually connecting to the mechanicals of the car.

 

:: In this way the interior reflects the conviction that successful new technologies are the ones that seamlessly integrate without denying that which is already great today. A symbiosis symbolized in the central typical Maserati clock, physical and virtual at the same time. As a further characteristic, the car was built entirely of sustainable materials, emphasising the use of recycled components rather than natural resources. The Birdcage 75th also extends the concept of car/user interface, as our needs are forever shifting towards a car/mobility interface. The car becomes a central element in our daily communication activities. Through a central mounted navigation device you can navigate through a personalized array of functions and menus. But not only that, the numerous cameras positioned on the car allow you to share your driving experience with others, while projecting the images of the infrared cameras on the transparent head up display allow you to enhance your own driving experience at night.

  

:: Seamless mobility by Motorola

 

:: The Birdcage 75th is an application of Motorola’s vision of seamless mobility. Telephony has revealed the existence of a world in constant movement, to the point that it is difficult today to imagine life without the mobile phone. Nowadays, when we travel, we are no longer content to just make a phone call: we also want to be able to access all manner of services with our phone. Motorola has made all this possible. And it doesn’t end there. We want to be able to send images and listen to music: our wishes have been fulfilled. Now Motorola is ready for the next step. People are constantly on the move and they want to have everything with them. They want a seamless mobility world. Solutions that make you live the experience of always being connected, to everything and with all services available. “Mobility” is the next stage in the Internet revolution; it will enable users to communicate and handle information independently of the place they happen to be.

 

:: The technologies integrated in the concept car fulfil this vision of seamless mobility and use payment systems, an iPen and a mobile router, putting projection screens into service for man-machine communication. The idea of building a concept car with Motorola arose when the company in the Pininfarina group dedicated to industrial design, Pininfarina Extra, already a Motorola partner in the design of its last line of cell phones with iDEN technology, began to plan the new line of terminals. The new portfolio of iDEN products combines attractively designed lines with the very latest available technologies, digital cell phones with last generation wireless access to Internet, text pager and two-way radio communication which enables users to communicate instantaneously with one or more individuals simply by pressing a button. So we have integrated Motorola’s seamless mobility into a technologically advanced concept car.

 

:: This challenge was taken up and carried forward by Pininfarina Extra through its cooperation in the design of the cabin and the accessories of the concept car. The design philosophy of Motorola’s iDEN cell phones is based on the study of bionics: the relationship between design and nature. The design of the concept is inspired by the shark which moves through the water guided by a sensor. In the same way, the car perceives the environment in which it moves.

  

:: Technical partners

 

OSRAM Opto Semiconductors: LED Technology for Optical Systems Torra: Alloy Wheels, Belts

 

:: Technical specifications

 

:: Chassis :: Load-bearing frame in carbon fibre and Nomex honeycomb with front and rear structure in aluminium. Bodywork in carbon fibre.

:: Front and Rear Suspensions :: Articulated quadrilateral with push-rod layout; single-calibrated shock absorbers and co-axial coil springs.

:: Brakes :: Brembo system with four self-ventilated and drilled discs. Front 380 mm x 34 mm. Rear 335 mm x 32 mm; callipers in light alloy with six front and four rear pistons.

:: Drivetrain :: Longitudinal rear-mounted gearbox with rigid connection to the engine. Mechanical drivetrain with 6 sequential gears.

:: Engine :: 12 x 65° V-cylinders, displacement 5998 cm(3). Power output: more than 700HP.

:: Length:: 4656 mm

:: Width :: 2020 mm

:: Height :: 1090 mm

:: Pitch :: 2800 mm

:: Front Overhang :: 1066 mm

:: Rear Overhang :: 790 mm

:: Front Track :: 1660 mm

:: Rear Track :: 1650 mm

:: Front Tyre :: 275/30 20"

:: Rear Tyre :: 295/35 22"

:: Dry weight :: Approx. 1500 kg

 

::

 

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

 

The tree was made using Melissa's awesome tutorial on Puchi Collective. I altered it a bit by wrapping the "trunk" stands around a brass rod for more stability. My little ornaments are a bit heavy as they're mostly vintage glass "pearls" that have been covered in fine glitter, so they've got a bit of weight.

 

Other "ornaments" are silver beads, vintage crystal beads, and a few cute leaf-shaped plastic beads. The star topper is a plastic bead. The tree skirt is a bit of vintage white velvet with glitter glued around the edge.

 

The presents are 1 1/4" wooden blocks covered in wrapping paper and bows.

7x7" handmade collage.

via WordPress ift.tt/2pQYio0

 

It isn’t attainable to acquisition all of the serene nooks and abstracted crannies at the Chicago Botanic Garden. Some of the paths at the esplanade assume altogether agreeable to go alone one way. At atomic a brace of the themed breadth are best accomplished by walking through addition garden.

 

28 Lovely Botanical Garden Definition Meaning | Garden Inspiration – definition of botanical garden | definition of botanical garden

 

But I had fabricated my way up a one-way aisle to a acropolis garden, the accomplished accustomed point on Black Island and as quiet a atom as you ability acquisition in the arctic burghal attributes preserve. The Chicago Botanic Garden has been growing in acceptance and, on this mild, brilliant August Friday, was abundant with visitors in some of its added axial spots.

 

“I appetite that all these bodies would go away,” one company had said earlier, conceivably not acquainted that she was, in fact, one of the bodies bottleneck things up.

 

I was about to sit on one of the acropolis garden’s big bedrock chunks and reflect on my day at the 385-acre garden, anchored 24 afar arctic of city Chicago, in Glencoe, amidst some of the Chicago region’s priciest properties.

 

The day had included bicycling and ability beer (so, by definition, a acceptable day); what has to be earth’s best surreal archetypal railroad; and so abundant anxiously landscaped acreage that it is both alarming and alarming to the boilerplate backyard burrow wielder.

 

I bare to blow my legs and lower aback for a spell — you can actually airing all day actuality — and anticipate about the abode and my own agronomical sins, which mostly absorb blank and its acquisitive sidekick, weeds.

 

But in one of those coincidences that would assume apish if you saw it in a movie, in amidst the time my knees angled to sit and my abaft hit the rock, a ballyhoo of acutely beating accretion seemed to blast out from the actual copse all about me. Ink on cardboard cannot do the babble justice. “Clang?” “CLANG?” “CLANG-CLANG-CLANG!” Like that, but added loud, added capital.

 

Though partly hidden by leaves and branches, the island’s angelus belfry is appropriate abutting aperture to the hilltop, and the time, wouldn’t you know, was absolutely 4 o’clock. The angelus capital to let anybody in the garden apperceive this archival fact, but it seemed to appetite to let me in accurate know. (A carillon, for the unfamiliar, is about a belfry abounding of accretion called for qualities, including volume.)

 

I jumped a little. I laughed a little, because the timing absolutely was absurd. And, of course, as I aggregate my animation afterward, the alone buzz alarm I accustomed all day came in.

 

But disconnected calmness is aberant at the Chicago Botanic Garden. Usually, you’ll accept to compression yourself already or alert in the advance of a appointment to accumulate from blissing out entirely. This is one pretty, ambrosial place, boasting what my addendum from the day accredit to as an “in-your-face serenity.”

 

My scribbles additionally included the byword “preternaturally pretty,” and I anticipate it’s a fair one. Beyond bald nature, this is botany as an aloof matron, done up with all of the perfection, all of the administration and architecture and admonishment that time, money and aftertaste can create. Here, alike the parking lots are lovely.

 

To be sure, at the Chicago Botanic Garden you can aloof airing in the dupe on paths in the northeast breadth of the property. That’s nice, cooling and calming, a acceptable acquittal from the burghal or burghal environments best of us inhabit. But the showplaces are the about three-fourths of the breadth that are cultivated, and anniversary garden you appointment is added impressive, or abnormally impressive, than the next. Anniversary becomes, temporarily, your favorite.

 

The Archetypal Railroad Garden runs 16 alive best archetypal trains through a illustration of acute plant-tending surrounding occasionally blatant replicas of American landmarks (especially Frank Lloyd Wright homes). It is camp and effective, decidedly all-encompassing and able-bodied account the abstracted acceptance allegation ($6 for adults).

 

Amazing Space: 28 To-Die-For English Gardens – definition of botanical garden | definition of botanical garden

 

The Rose Garden surrounds an all-embracing backyard with array of varieties of the superstar flower. That’s appropriate abutting to the English Belted Garden, which contains examples of several styles of belted agronomics from the old country.

 

A Heritage Garden pays admiration to Renaissance-era breadth in Italy; it’s a little abutting to the capital company centermost to be fully, or at atomic relaxedly, appreciated.

 

There’s a Waterfall Garden featuring what you’d expect, additional ducks that visitors accept trained, unintentionally, to adhere about allurement for food. The Enabling Garden shows garden designs that can assignment for bodies with disabilities, while, aloof abaft it, the Sensory Garden displays plants that allege abnormally audibly to the senses.

 

None of these breadth — there are 26 — is a postage stamp, by the way. They’ve all got beyond and appetite and moments of complete charm.

 

But my aboriginal admired was the Mural Garden, advised to appearance us what can be accomplished at home (with, the signage doesn’t bother to add, the casework of a top-tier mural artist and a aggregation of weed-pulling minions who stop by three or four times a week). It is a pipe-dream affectionate of abode for a actuality of my account priorities, but what a admirable aqueduct and what a admirable dream.

 

But again my admired became Black Island, beneath able attractive admitting actuality a advertise for “the New American Garden Appearance of mural design.” It’s 5 acres, and it’s south of the capital area, so there is allowance to roam and anticipate (and to accept angelus accretion barrage in your ear).

 

That, of course, was anon supplanted by the Japanese Garden, two islands to the east (and a third, aloof one) that at already feel the best academic and the best aesthetic on the property. There are peaceful, quiet corners to sit and allocution intimately, as able-bodied as pebble-covered breadth that are alone for looking. The assurance there explained that the Japanese agronomical appearance presents an “abstract and idealized” adaptation of nature, but, of course, that’s accurate of the Chicago Botanic Garden as a accomplished as well.

 

The garden is a cairn to pathways. Whether of brick, gravel, bean or grass, they snake everywhere on the grounds. In a day spent amidst them, you are reminded of how adorable to bodies any aisle can be. Seeing one, it’s adamantine to aloof airing the added way.

 

But admitting absolute primarily on a alternation of islands in a array of basin or lagoon system, the garden could booty bigger advantage of its waterways. A cher anniversary Father’s Day canoe ride sells out, but there are no approved baiter rides to appearance off a beginning new angle on the plantings.

 

The garden says it wants to accumulate things quiet, rather than accepting choir biking beyond water. But this seems a ambiguous affair in a abode area choir on acreage generally beleaguer you. And wouldn’t it be nice to see the Lakeside Gardens, for instance, from the lake, rather than from the adverse shore?

 

Created on Cook County Forest Bottle District land, the garden was opened to the attainable in 1972, authoritative it one of the babies amid the Chicago area’s museums, zoos and attributes parks.

 

But it has developed up and out quickly, in the address of a well-tended garden. The garden surpassed 1 actor visitors aftermost year for the aboriginal time, a acme of bristles beeline years of appearance growth.

 

Royal Botanic Gardens Melbourne – Botanic Garden in Melbourne … – definition of botanical garden | definition of botanical garden

 

More than aloof a abode to affectation what blooming thumbs can do, it is a alive analysis center, employing some 200 scientists, alum acceptance and interns in botanical science; a few dozen of them are from a collective alum affairs in bulb analysis and attention with Northwestern University.

 

Much of the analysis happens in the Bulb Attention Science Center, opened in 2009 and attainable to visitors. Additionally basic to the mission are some 2,000 volunteers, whether allowance to acknowledgment agronomical questions from the public, amid seeds in the science architecture or disposed to, say, the anniversary garden.

 

This is not a campus at rest. Architecture starts in the abatement on an aggressive new project, the arctic end Learning Campus, which will accommodate kids breadth and classroom space. A added accepted bit of architecture account involves biking, a key allotment of the garden’s DNA.

 

Whenever I visit, I try to ride, time depending, for at atomic 10 of the 17 afar arch to it on the Cook County Forest Preserve’s first-rate Arctic Branch Trail. A new adapter on garden property, hooking up that aisle with the Blooming Bay Aisle to the north, will accessible in September. Given the accepted affability to two-wheeled, nonmotorized vehicles, it would be nice if bikers were accustomed to ride added advisedly aural esplanade environs.

 

The aliment in the company centermost cafeteria is ambrosial good, although the seating, congenital out on a accouter over water, gets awash and, on the active day I was best afresh there, agents bare to do a bigger job acrimonious up alone trays and elimination recycling and debris bins afore they abounding up.

 

If you let yourself anticipate about it, you can apprehend the beef of cartage from an adjoining artery (Interstate Artery 94), like at the Morton Arboretum (with I-88) to the west of Chicago.

 

But these are quibbles with a abode that is adorable in the big account and in best of the baby ones. It defies you to booty a bad account or, really, to leave your camera in your pocket.

 

It shares its compensation with you. You can generally buy plants to booty home, or vegetables at the farmers markets (first and third Sundays, through Oct. 19).

 

And for all of its admeasurement and scope, small, animal touches abound. One of the best is the alternation of little chalkboard signs army in breadth throughout the facility.

 

Other institutions these canicule try to accomplish their signs activating and calmly capricious by application iPads. These mini chalkboards were far added able and far added personable (although conceivably beneath ambrosial to baby children, but the apple already caters affluence to them).

 

As I absolved through, I began to feel like I was in chat with the signs’ author, who was confined as the best affectionate of bout guide: there back I capital her, but absolutely accommodating to be abandoned back I didn’t.

 

Those signs, I learned, are the assignment of one person, Karen Zaworski, whose appellation at the garden is analytic writer. From her I abstruse about achievement gardens, the “hard pruning” of the staghorn sumac, the acumen of burying hostas in your adumbral areas, an accessible antique amazon weekend (Saturday and Sunday) and how abounding afar the Archetypal Railroad Garden trains biking in a year (24,000).

 

Botanical Garden Definition – Botanic Garden Ibotanic … – definition of botanical garden | definition of botanical garden

 

If a abruptness angelus alarm is one affectionate of stimulus, Zaworski’s bashful but advisory letters were absolutely the other.

 

Don’t miss: The Trellis Bridge, absolution you airing assimilate Black Island from the east, abreast the Science Center, is a beautiful, cautiously arched structure. And the big adequate prairie and meadow on the south end of the esplanade are amid the least-visited areas and, therefore, conceivably the best aces of a long, attentive stroll.

 

Don’t bother: There’s a lot activity on in the axial Regenstein Center, including a active library, a array of conservatory and a new acclaim appearance in the backward winter and spring. But it’s indoors, and genitalia of the architecture are drab. If you are on a time budget, absorb it elsewhere.

 

Pro tips: By all agency access on bottom or by bike, if you can cull it off. The garden, in one of my admired behavior by any Chicago-area institution, lets bodies who appear in that way access for free, charging alone car entrants. Appointment the Blooming Roof Garden aloft the Bulb Science Center, an archetype of what can be done in absurd spaces.

 

Take advantage of the assembly of summer black programming (details at chicagobotanic.org). And the Garden Guide app, for iOS and Android, is ambrosial nifty, but you could be forgiven for absent to avoid your adaptable buzz here.

 

sajohnson@tribune.com

 

Twitter @StevenKJohnson

 

Chicago Botanic Garden

 

When: 7 a.m. to 9 p.m. through Sept. 1

 

Where: 1000 Basin Cook Road, Glencoe

 

Tickets: $25 per car; 847-835-5440 or chicagobotanic.org

 

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6.25x8.625" handmade collage.

Endgame (Coulrophobia), 2010

Max Streicher - Toronto, Canada

Vinyl (Recyled Billboards)

 

A back alley is negative space, a liminal zone between the architectural order on either side—stage for the shady and dangerous. In Endgame (Coulrophobia)* giant inflatable clown heads are stuck between two buildings high over an alley. The heads are made of vinyl from recycled billboards. Referring to the history of collage as a tool for turning propaganda against itself, the artist has stated: “There is something satisfying in reshaping corporate ads into something whimsical, generous or even scary. Clowns on their own embody a certain tension; we expect them to be funny and yet many people experience them as sinister. The tension here is physical as the heads are held in place by their own internal air pressure. Their squeezed and distorted expressions add to a sense of urgency. It is a situation that invites any number of imaginative narratives. Perhaps they are renegade parade balloons whose joyride has gone tragically wrong. In any case, these happy-go-lucky characters are now pinned in a back alley. While still monumental, they are now vulnerable in a way that invites a kind of empathy, but possibly a guilty empathy, or schadenfreude, fear combined with the pleasing anticipation of a spectacularly destructive end.

 

Max Streicher is a sculptor and installation artist from Alberta, now residing in Toronto. Since 1989 he has worked extensively with inflatable technology in kinetic sculptures and installation works. He has shown widely in museums and public galleries across Canada and abroad. He was a founding member of the Nethermind collective of artists who mounted four large exhibitions in alternative spaces in Toronto between 1991 and 1995. Max Streicher is represented by galleries in Paris, Madrid, Berlin, Mumbai and New York.

 

maxstreicher.com/

Handcut A2 paper collage. Lots of fluro and glow in the dark.

5.75x4.5x2.75" collaged jewelry box (sold)

Here's a pict of my current show at Arts Sutton Gallery, on until March25. Pict by SOL LANG.

 

madonna & child or re-parenting my inner child, a film by mary bogdan www.lulu.tv/?p=7650

   

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METAMORPHOSIS | Mixed Media, Digital Art, Video

february 22 - march 25, 2007 | vernissage: saturday, february 24, 2-5 pm

 

Arts Sutton Gallery presents an exhibition of current works by Mary Bogdan and Ted Yudelson which deal with the theme of change or the hope of change. The two artists address the issue of personal evolution in their own unique way through their encounter with the creative process. Within the moments of incidental illuminations that occur along the way, each discovers hope for metamorphosis, leading to transformation and ultimately, transcendence.

 

The work involves the recycling, recovery, manipulation and alteration of “found” objects and demonstrates the pursuit of reinvention of self, of an approach to life or a way of being. It addresses the shaping of the self through the creation of art, both on a personal and collective level. The work looks at inner struggles and seeks a better understanding of self and its place in our society. It portrays a quest for healing – a way to undo the past or, at least, to understand the present and invent a better future.

 

Special Event: An Artist Talk by Mary Bogdan, Saturday, March 10th at 2 pm. No entry fee.

 

Curator: Kathy Feig

 

Mary Bogdan holds a bachelor of Fine Arts degree from Concordia University, and has participated in creative painting at the Saidye Bronfman Centre for the Arts, and assemblage at the Visual Arts Centre. A graphic designer by profession, she is co-founder and partner of Crayon Design & Communication, a graphic design firm, with husband photographer, Sol Lang, and has won numerous international awards. Her paintings, assemblages and limited edition prints, as well as video, have been exhibited internationally and are in public and private collections.

 

Ted Yudelson holds a Bachelor of Architecture degree from McGill University and has participated in sketching at McGill, stained glass at the Visual Arts Centre and pottery at the Gora Studio. An architect by profession, he is an Associate with the IBI Group, a multidisciplinary international design firm. Ted recently embarked on a project of assemblages, his first major body of work. The mixed media series, called Broken Promises, employs computer components as its primary element.

 

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METAMORPHOSIS | Techniques mixtes, art digital, vidéo

22 février au 25 mars 2007 | vernissage: samedi 24 février de 14h à 17h

 

La Galerie Arts Sutton présente une exposition des oeuvres récentes de Mary Bogdan et Ted Yudelson. Celles-ci ont pour thème le changement ou l'espérance du changement. À leur manière unique, les deux artistes étudient la question de l'évolution personnelle dans leur processus de création. Chacun y découvre, lors de moments d'inspiration fortuite, l'espoir de la métamorphose qui mène vers le changement et finalement, vers la transcendance.

 

L'oeuvre consiste au recyclage, à la récupération, à la manipulation et à la modification d'objets «trouvés» et pas laquelle se manifeste la quête du renouvellement de soi, une façon d'aborder la vie ou une manière d'être. Cette création de l'art, tant au niveau personnel que collectif, modèle le «moi». L'oeuvre scrute les conflits intérieurs et cherche une meilleure compréhension du «moi» et de sa place dans la société. Elle dépeint la recherche de guérison – comment défaire le passé ou, à tout le moins, comment comprendre le présent et inventer un futur meilleur.

 

Événement spécial: Dans le cadre de l'exposition, une conférence avec Mary Bogdan est prévue le samedi 10 mars à 14h00. L'entrée est gratuite.

 

Commissaire: Kathy Feig

 

Mary Bogdan est diplômée des Beaux-arts de l'Université Concordia. Elle a suivi divers cours en peinture et en assemblage au Centre des arts Saidye Bronfman et au Centre des arts visuels de Montréal. Graphiste de profession, elle dirige avec son conjoint, le photographe Sol Lang, une entreprise de graphisme Crayon Design & Communication, laquelle s'est méritée de nombreux prix internationaux. Ses tableaux, assemblages, gravures à tirage limité et vidéo, sont exposés partout dans le monde et ses oeuvres font partie de collections privées et publiques.

 

Ted Yudelson est diplômé en architecture de l'Université McGill. Il a suivi des cours de dessin à McGill, de vitrail au Centre des arts visuels et de poterie au studio Gora. Architecte de profession, il est associé au Groupe IBI, une entreprise internationale de design multidisciplinaire. Tout récemment, Yudelson a entrepris un projet d'assemblage, sa première oeuvre majeure. Des composantes d'ordinateurs constituent les éléments de base de la série Promesses non-tenues (médias mixtes).

 

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Galerie ArtsSutton Gallery | 7, rue Academy, Sutton | 450.538.2563

info@artssutton.com | www.artssutton.com

 

opening hours: Thurs. to Sun. 11:00 to 5:00 | heures d'ouverture: jeu. au dim. 11h à 17h

WARM UP for COPENHAGEN ULTRACONTEMPORARY BIENNALE

copenhagenbiennale.org/

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The COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done in 3 platforms

the parliament is platform 2

Artist have to express closer to decision makers . in time , in the NOW

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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---

check date and place here www.facebook.com/CopenhagenBiennale

COPENHAGEN ULTRACONTEMPORARY BIENNALE

main : copenhagenbiennale.org/

www.facebook.com/CopenhagenBiennale

www.emergencyrooms.org/formats.html

www.emergencyrooms.org/

 

meanwhile during Venice Biennale contemporary art will be shown by

 

ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe

ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane

AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo

AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo

ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto

BALOJI, Sammy BARBA, Rosa

BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra

BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian

BONVICINI, Monica BOYCE, Sonia

BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania

BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei

CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany

COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT

DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene

E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun

EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily

FRIEDL, Peter FUSCO, Coco FUSINATO, Marco

GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora

GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina

GULF LABOR GURSKY, Andreas HAACKE, Hans

HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay

HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert

IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya

JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung

KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David

LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim

MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris

MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve

MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar

MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf

OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian

PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE

(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili

RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa

SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi

SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael

SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW

TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala

  

ALBANIA

Albanian Trilogy: A Series of Devious Stratagems

Armando Lulaj

Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale

ANDORRA

Inner Landscapes

Roqué, Joan Xandri

Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez

Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865

ANGOLA

On Ways of Travelling

António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira

Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810

ARGENTINA

The Uprising of Form

Juan Carlos Diste´fano

Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi

ARMENIA, Republic of

Armenity / Haiyutioun

Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK

Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni

AUSTRALIA

Fiona Hall: Wrong Way Time

Fiona Hall

Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini

AUSTRIA

Heimo Zobernig

Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini

AZERBAIJAN, Republic of

Beyond the Line

Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada

Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949

Vita Vitale

Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie

Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416

BELARUS, Republic of

War Witness Archive

Konstantin Selikhanov

Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145

BELGIUM

Personnes et les autres

Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton

Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini

COSTA RICA

"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".

Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli

Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani

CROATIA

Studies on Shivering: The Third Degree

Damir Ocko

Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina

CUBA

El artista entre la individualidad y el contexto

Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo

Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island

CYPRUS, Republic of

Two Days After Forever

Christodoulos Panayiotou

Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079

CZECH Republic and SLOVAK Republic

Apotheosis

Jirí David

Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini

ECUADOR

Gold Water: Apocalyptic Black Mirrors

Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet

Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701

ESTONIA

NSFW. From the Abyss of History

Jaanus Samma

Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199

EGYPT

CAN YOU SEE

Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud

Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini

FINLAND (Pavilion Alvar Aalto)

Hours, Years, Aeons

IC-98

Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini

FRANCE

revolutions

Céleste Boursier-Mougenot

Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini

GEORGIA

Crawling Border

Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia

Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi

GERMANY

Fabrik

Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini

GREAT BRITAIN

Sarah Lucas

Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini

GRENADA *

Present Nearness

Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi

Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919

GREECE

Why Look at Animals? AGRIMIKÁ.

Maria Papadimitriou

Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini

BRAZIL

So much that it doesn't fit here

Antonio Manuel, André Komatsu, Berna Reale

Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini

CANADA

Canadassimo

BGL

Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini

CHILE

Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld

Paz Errázuriz, Lotty Rosenfeld

Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie

CHINA, People’s Republic of

Other Future

LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station

Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini

GUATEMALA

Sweet Death

Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe

Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani

HOLY SEE

Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi

HUNGARY

Sustainable Identities

Szilárd Cseke

Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini

ICELAND

Christoph Büchel

Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed

INDONESIA, Republic of

Komodo Voyage

Heri Dono

Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale

IRAN

Iranian Highlights

Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai

The Great Game

Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim

Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio

IRAQ

Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879

IRELAND

Adventure: Capital

Sean Lynch

Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie

ISRAEL

Tsibi Geva | Archeology of the Present

Tsibi Geva

Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini

 

ITALY

Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale

 

JAPAN

The Key in the Hand

Chiharu Shiota

Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini

 

KENYA

Creating Identities

Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center

Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island

 

KOREA, Republic of

The Ways of Folding Space & Flying

MOON Kyungwon & JEON Joonho

Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini

 

KOSOVO, Republic of

Speculating on the blue

Flaka Haliti

Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie

 

LATVIA

Armpit

Katrina Neiburga, Andris Eglitis

Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale

 

LITHUANIA

Museum

Dainius Liškevicius

Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro

 

LUXEMBOURG, Grand Duchy of

Paradiso Lussemburgo

Filip Markiewicz

Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052

 

MACEDONIA, Former Yugoslavian Republic of

We are all in this alone

Hristina Ivanoska and Yane Calovski

Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi

 

MAURITIUS *

From One Citizen You Gather an Idea

Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer

Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252

 

MEXICO

Possesing Nature

Tania Candiani, Luis Felipe Ortega

Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi

 

MONGOLIA *

Other Home

Enkhbold Togmidshiirev, Unen Enkh

Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora

 

MONTENEGRO

,,Ti ricordi Sjecaš li se You Remember "

Aleksandar Duravcevic

Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE, Republic of *

Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique

Mozambique Artists

Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale

 

NETHERLANDS, The

herman de vries - to be all ways to be

herman de vries

Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini

 

NEW ZEALAND

Secret Power

Simon Denny

Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport

 

NORDIC PAVILION (NORWAY)

Camille Norment

Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini

 

PERU

Misplaced Ruins

Gilda Mantilla and Raimond Chaves

Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi

 

PHILIPPINES

Tie a String Around the World

Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz

Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora

 

POLAND

Halka/Haiti. 18°48’05”N 72°23’01”W

C.T. Jasper, Joanna Malinowska

Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini

 

PORTUGAL

I Will Be Your Mirror / poems and problems

João Louro

Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano

 

ROMANIA

Adrian Ghenie: Darwin’s Room

Adrian Ghenie

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini

 

Inventing the Truth. On Fiction and Reality

Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice

 

RUSSIA

The Green Pavilion

Irina Nakhova

Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini

 

SERBIA

United Dead Nations

Ivan Grubanov

Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini

 

SAN MARINO

Repubblica di San Marino “ Friendship Project “ China

Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini

Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC

 

SEYCHELLES, Republic of *

A Clockwork Sunset

George Camille, Léon Wilma Loïs Radegonde

Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora

 

SINGAPORE

Sea State

Charles Lim Yi Yong

Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi

 

SLOVENIA, Republic of

UTTER / The violent necessity for the embodied presence of hope

JAŠA

Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie

 

SPAIN

Los Sujetos (The Subjects)

Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí

Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini

 

SYRIAN ARAB REPUBLIC

Origini della civiltà

Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha

Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island

 

SWEDEN

Excavation of the Image: Imprint, Shadow, Spectre, Thought

Lina Selander

Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale

 

SWITZERLAND

Our Product

Pamela Rosenkranz

Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini

 

THAILAND

Earth, Air, Fire & Water

Kamol Tassananchalee

Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260

 

TURKEY

Respiro

Sarkis

Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi

 

TUVALU

Crossing the Tide

Vincent J.F. Huang

Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale

 

UKRAINE

Hope!

Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin

Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri

 

UNITED ARAB EMIRATES

1980 – Today: Exhibitions in the United Arab Emirates

Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar

Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi

 

UNITED STATES OF AMERICA

Joan Jonas: They Come to Us Without a Word

Joan Jonas

Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini

 

URUGUAY

Global Myopia II (Pencil & Paper)

Marco Maggi

Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini

 

VENEZUELA, Bolivarian Republic of

Te doy mi palabra (I give you my word)

Argelia Bravo, Félix Molina (Flix)

Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini

 

ZIMBABWE, Republic of

Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.

Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro

Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta

 

ITALO-LATIN AMERICAN INSTITUTE

Voces Indígenas

Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale

ARGENTINA

Sofia Medici and Laura Kalauz

PLURINATIONAL STATE OF BOLIVIA

Sonia Falcone and José Laura Yapita

BRAZIL

Adriana Barreto

Paulo Nazareth

CHILE

Rainer Krause

COLOMBIA

León David Cobo,

María Cristina Rincón and Claudia Rodríguez

COSTA RICA

Priscilla Monge

ECUADOR

Fabiano Kueva

EL SALVADOR

Mauricio Kabistan

GUATEMALA

Sandra Monterroso

HAITI

Barbara Prézeau Stephenson

HONDURAS

Leonardo González

PANAMA

Humberto Vélez

NICARAGUA

Raúl Quintanilla

PARAGUAY

Erika Meza

Javier López

PERU

José Huamán Turpo

URUGUAY

Gustavo Tabares

 

Ellen Slegers

  

001 Inverso Mundus. AES+F

Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 31st

Organization: VITRARIA Glass + A Museum

www.vitraria.com

www.inversomundus.com

 

Catalonia in Venice: Singularity

Cantieri Navali, Castello, 40 (Calle Quintavalle)

May 9th - November 22nd

Organization: Institut Ramon Llull

www.llull.cat

venezia2015.llull.cat

 

Conversion. Recycle Group

Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)

May 6th - October 31st

Organization: Moscow Museum of Modern Art

www.mmoma.ru/

 

Dansaekhwa

Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)

May 7th – August 15th

Organization: The Boghossian Foundation

www.villaempain.com

 

Dispossession

Palazzo Donà Brusa, Campo San Polo, 2177

May 9th - November 22nd

Organization: European Capital of Culture Wroclaw 2016

wroclaw2016.pl/biennale/

 

EM15 presents Doug Fishbone’s Leisure Land Golf

Arsenale Docks, Castello, 40A, 40B, 41C

May 6th - July 26th

Organization: EM15

www.em15venice.co.uk

 

Eredità e Sperimentazione

Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia

May 9th - November 22nd

Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova

www.bioarchitettura.it

 

Frontiers Reimagined

Palazzo Grimani, Castello, 4858 (Ramo Grimani)

May 9th - November 22nd

Organization: Tagore Foundation International; Polo museale del Veneto

www.frontiersreimagined.org

 

Glasstress 2015 Gotika

Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;

May 9th — November 22nd

Organization: The State Hermitage Museum

www.hermitagemuseum.org

 

Graham Fagen: Scotland + Venice 2015

Palazzo Fontana, Cannaregio, 3829 (Strada Nova)

May 9th - November 22nd

Organization: Scotland + Venice

www.scotlandandvenice.com

 

Grisha Bruskin. An Archaeologist’s Collection

Former Chiesa di Santa Caterina, Cannaregio, 4941-4942

May 6th – November 22nd

Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia

www.unive.it/csar

 

Helen Sear, ... The Rest Is Smoke

Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)

May 9th - November 22nd

Organization: Cymru yn Fenis/Wales in Venice

www.walesinvenice.org.uk

 

Highway to Hell

Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)

May 9th - November 22nd

Organization: Hubei Museum of Art

www.hbmoa.com

 

Humanistic Nature and Society (Shan-Shui) – An Insight into the Future

Palazzo Faccanon, San Marco, 5016 (Mercerie)

May 7th – August 4th

Organization: Shanghai Himalayas Museum

www.himalayasmuseum.org

 

In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia

Dorsoduro, 417 (Zattere)

May 6th - November 15th

Organization: ArsCulture

www.arsculture.org/

www.eyeofthunderstorm.com

 

Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators

Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)

May 9th – June 30th; September 11st – October 31st

Organization: Italian Art Motherboard Foundation (i-AM Foundation)

www.i-amfoundation.org

www.venicebiennale-italiadocet.org

 

Jaume Plensa: Together

Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore

May 6th – November 22nd

Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus

www.praglia.it

 

Jenny Holzer "War Paintings"

Museo Correr, San Marco, 52 (Piazza San Marco)

May 6th – November 22nd

Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia

www.writtenartfoundation.com

correr.visitmuve.it

 

Jump into the Unknown

Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262

May 9th – June 18th

Organization: Nine Dragon Heads

9dh-venice.com

 

Learn from Masters

Palazzo Bembo, San Marco, 4793 (Riva del Carbon)

May 9th – November 22nd

Organization: Pan Tianshou Foundation

pantianshou.caa.edu.cn/foundation_en

 

My East is Your West

Palazzo Benzon, San Marco, 3927

May 6th – October 31st

Organization: The Gujral Foundation

www.gujralfoundation.org

   

Ornamentalism. The Purvitis Prize

Arsenale Nord, Tesa 99

May 9th – November 22nd

Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015

www.purvisabalva.lv/en/ornamentalism

 

Path and Adventure

Arsenale, Castello, 2126/A (Campo della Tana)

May 9th – November 22nd

Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau

www.iacm.gov.mo

www.mam.gov.mo

www.icm.gov.mo

 

Patricia Cronin: Shrine for Girls, Venice

Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)

May 9th – November 22nd

Organization: Brooklyn Rail Curatorial Projects

curatorialprojects.brooklynrail.org

 

Roberto Sebastian Matta. Sculture

Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)

May 9th – November 22nd

Organization: Fondazione Echaurren Salaris

www.fondazioneechaurrensalaris.it

www.maggioregam.com/56Biennale_Matta

 

Salon Suisse: S.O.S. Dada - The World Is A Mess

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st

Organization: Swiss Arts Council Pro Helvetia

www.prohelvetia.ch

www.biennials.ch

 

Sean Scully: Land Sea

Palazzo Falier, San Marco, 2906

May 9th – November 22nd

Organization: Fondazione Volume!

www.fondazionevolume.com

 

Sepphoris. Alessandro Valeri

Molino Stucky, interior atrium, Giudecca, 812

May 9th – November 22nd

Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin

www.sepphorisproject.org

 

Tesla Revisited

Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 18th

Organization: VITRARIA Glass + A Museum

www.vitraria.com/

 

The Bridges of Graffiti

Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)

May 9th - November 22nd

Organization: Associazione Culturale Inossidabile

www.inossidabileac.com

 

The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice

Palazzo Tiepolo Passi, San Polo, 2774

May 6th - November 22nd

Organization: Fundaciò Artigas; ArsCulture

www.fundacio-artigas.com/

www.arsculture.org/

www.dialogueoffire.org

 

The Question of Beings

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)

www.mocataipei.org.tw

 

The Revenge of the Common Place

Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)

May 9th – September 30th

Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)

www.vub.ac.be/

 

The Silver Lining. Contemporary Art from Liechtenstein and other Microstates

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

October 24th – November 1st

Organization: Kunstmuseum Liechtenstein

www.kunstmuseum.li

www.silverlining.li

 

The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno

Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)

May 7th - November 22nd

Organization: ArsCulture

www.arsculture.org/

 

The Union of Fire and Water

Palazzo Barbaro, San Marco, 2840

May 9th - November 22nd

Organization: YARAT Contemporary Art Organisation

www.yarat.az

www.bakuvenice2015.com

 

Thirty Light Years - Theatre of Chinese Art

Palazzo Rossini, San Marco, 4013 (Campo Manin)

May 9th - November 22nd

Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art

www.globalartcenter.org

www.gdmoa.org

 

Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice

Arsenale, Castello, 2126 (Campo della Tana)

May 9th - November 22nd

Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council

www.westkowloon.hk/en/mplus

www.hkadc.org.hk

www.venicebiennale.hk

 

Under the Surface, Newfoundland and Labrador at Venice

Galleria Ca' Rezzonico, Dorsoduro, 2793

May 9th - November 22nd

Organization: Terra Nova Art Foundation

tnaf.ca

 

Ursula von Rydingsvard

Giardino della Marinaressa, Castello (Riva dei Sette Martiri)

May 6th - November 22nd

Organization:Yorkshire Sculpture Park

www.ysp.co.uk

 

We Must Risk Delight: Twenty Artists from Los Angeles

Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)

May 7th - November 22nd

Organization: bardoLA

www.bardoLA.org

 

Wu Tien-Chang: Never Say Goodbye

Palazzo delle Prigioni, Castello, 4209 (San Marco)

May 9th - November 22nd

Organization: Taipei Fine Arts Museum of Taiwan

www.tfam.museum

 

Xanadu

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Dream Amsterdam Foundation

www.dreamamsterdam.nl

www.nikunja.org/xanadu

 

Universities and Associations that have joined the project

Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna

Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena

 

Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale

Bice Curiger Massimiliano Gioni

A Parliament for a Biennale

Paolo Baratta, President of la Biennale di Venezia

Okwui Enwezor the ARENA Karl Marx’s Das Kapital

Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara

Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

10.25x12" handmade collage.

5x7" handmade collage card.

This is a ring a good friend made for me out of recycled skateboards. Check em' out; TC Collective on Facebook.

WARM UP for COPENHAGEN ULTRACONTEMPORARY BIENNALE

copenhagenbiennale.org/

-------

The COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done in 3 platforms

the parliament is platform 2

Artist have to express closer to decision makers . in time , in the NOW

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

a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---

check date and place here www.facebook.com/CopenhagenBiennale

COPENHAGEN ULTRACONTEMPORARY BIENNALE

main : copenhagenbiennale.org/

www.facebook.com/CopenhagenBiennale

www.emergencyrooms.org/formats.html

www.emergencyrooms.org/

 

meanwhile during Venice Biennale contemporary art will be shown by

 

ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe

ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane

AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo

AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo

ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto

BALOJI, Sammy BARBA, Rosa

BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra

BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian

BONVICINI, Monica BOYCE, Sonia

BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania

BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei

CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany

COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT

DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene

E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun

EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily

FRIEDL, Peter FUSCO, Coco FUSINATO, Marco

GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora

GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina

GULF LABOR GURSKY, Andreas HAACKE, Hans

HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay

HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert

IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya

JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung

KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David

LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim

MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris

MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve

MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar

MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf

OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian

PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE

(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili

RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa

SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi

SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael

SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW

TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala

  

ALBANIA

Albanian Trilogy: A Series of Devious Stratagems

Armando Lulaj

Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale

ANDORRA

Inner Landscapes

Roqué, Joan Xandri

Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez

Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865

ANGOLA

On Ways of Travelling

António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira

Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810

ARGENTINA

The Uprising of Form

Juan Carlos Diste´fano

Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi

ARMENIA, Republic of

Armenity / Haiyutioun

Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK

Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni

AUSTRALIA

Fiona Hall: Wrong Way Time

Fiona Hall

Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini

AUSTRIA

Heimo Zobernig

Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini

AZERBAIJAN, Republic of

Beyond the Line

Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada

Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949

Vita Vitale

Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie

Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416

BELARUS, Republic of

War Witness Archive

Konstantin Selikhanov

Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145

BELGIUM

Personnes et les autres

Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton

Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini

COSTA RICA

"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".

Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli

Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani

CROATIA

Studies on Shivering: The Third Degree

Damir Ocko

Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina

CUBA

El artista entre la individualidad y el contexto

Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo

Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island

CYPRUS, Republic of

Two Days After Forever

Christodoulos Panayiotou

Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079

CZECH Republic and SLOVAK Republic

Apotheosis

Jirí David

Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini

ECUADOR

Gold Water: Apocalyptic Black Mirrors

Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet

Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701

ESTONIA

NSFW. From the Abyss of History

Jaanus Samma

Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199

EGYPT

CAN YOU SEE

Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud

Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini

FINLAND (Pavilion Alvar Aalto)

Hours, Years, Aeons

IC-98

Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini

FRANCE

revolutions

Céleste Boursier-Mougenot

Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini

GEORGIA

Crawling Border

Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia

Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi

GERMANY

Fabrik

Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini

GREAT BRITAIN

Sarah Lucas

Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini

GRENADA *

Present Nearness

Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi

Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919

GREECE

Why Look at Animals? AGRIMIKÁ.

Maria Papadimitriou

Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini

BRAZIL

So much that it doesn't fit here

Antonio Manuel, André Komatsu, Berna Reale

Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini

CANADA

Canadassimo

BGL

Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini

CHILE

Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld

Paz Errázuriz, Lotty Rosenfeld

Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie

CHINA, People’s Republic of

Other Future

LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station

Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini

GUATEMALA

Sweet Death

Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe

Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani

HOLY SEE

Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi

HUNGARY

Sustainable Identities

Szilárd Cseke

Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini

ICELAND

Christoph Büchel

Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed

INDONESIA, Republic of

Komodo Voyage

Heri Dono

Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale

IRAN

Iranian Highlights

Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai

The Great Game

Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim

Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio

IRAQ

Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879

IRELAND

Adventure: Capital

Sean Lynch

Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie

ISRAEL

Tsibi Geva | Archeology of the Present

Tsibi Geva

Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini

 

ITALY

Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale

 

JAPAN

The Key in the Hand

Chiharu Shiota

Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini

 

KENYA

Creating Identities

Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center

Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island

 

KOREA, Republic of

The Ways of Folding Space & Flying

MOON Kyungwon & JEON Joonho

Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini

 

KOSOVO, Republic of

Speculating on the blue

Flaka Haliti

Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie

 

LATVIA

Armpit

Katrina Neiburga, Andris Eglitis

Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale

 

LITHUANIA

Museum

Dainius Liškevicius

Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro

 

LUXEMBOURG, Grand Duchy of

Paradiso Lussemburgo

Filip Markiewicz

Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052

 

MACEDONIA, Former Yugoslavian Republic of

We are all in this alone

Hristina Ivanoska and Yane Calovski

Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi

 

MAURITIUS *

From One Citizen You Gather an Idea

Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer

Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252

 

MEXICO

Possesing Nature

Tania Candiani, Luis Felipe Ortega

Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi

 

MONGOLIA *

Other Home

Enkhbold Togmidshiirev, Unen Enkh

Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora

 

MONTENEGRO

,,Ti ricordi Sjecaš li se You Remember "

Aleksandar Duravcevic

Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE, Republic of *

Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique

Mozambique Artists

Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale

 

NETHERLANDS, The

herman de vries - to be all ways to be

herman de vries

Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini

 

NEW ZEALAND

Secret Power

Simon Denny

Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport

 

NORDIC PAVILION (NORWAY)

Camille Norment

Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini

 

PERU

Misplaced Ruins

Gilda Mantilla and Raimond Chaves

Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi

 

PHILIPPINES

Tie a String Around the World

Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz

Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora

 

POLAND

Halka/Haiti. 18°48’05”N 72°23’01”W

C.T. Jasper, Joanna Malinowska

Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini

 

PORTUGAL

I Will Be Your Mirror / poems and problems

João Louro

Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano

 

ROMANIA

Adrian Ghenie: Darwin’s Room

Adrian Ghenie

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini

 

Inventing the Truth. On Fiction and Reality

Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice

 

RUSSIA

The Green Pavilion

Irina Nakhova

Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini

 

SERBIA

United Dead Nations

Ivan Grubanov

Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini

 

SAN MARINO

Repubblica di San Marino “ Friendship Project “ China

Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini

Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC

 

SEYCHELLES, Republic of *

A Clockwork Sunset

George Camille, Léon Wilma Loïs Radegonde

Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora

 

SINGAPORE

Sea State

Charles Lim Yi Yong

Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi

 

SLOVENIA, Republic of

UTTER / The violent necessity for the embodied presence of hope

JAŠA

Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie

 

SPAIN

Los Sujetos (The Subjects)

Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí

Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini

 

SYRIAN ARAB REPUBLIC

Origini della civiltà

Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha

Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island

 

SWEDEN

Excavation of the Image: Imprint, Shadow, Spectre, Thought

Lina Selander

Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale

 

SWITZERLAND

Our Product

Pamela Rosenkranz

Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini

 

THAILAND

Earth, Air, Fire & Water

Kamol Tassananchalee

Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260

 

TURKEY

Respiro

Sarkis

Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi

 

TUVALU

Crossing the Tide

Vincent J.F. Huang

Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale

 

UKRAINE

Hope!

Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin

Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri

 

UNITED ARAB EMIRATES

1980 – Today: Exhibitions in the United Arab Emirates

Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar

Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi

 

UNITED STATES OF AMERICA

Joan Jonas: They Come to Us Without a Word

Joan Jonas

Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini

 

URUGUAY

Global Myopia II (Pencil & Paper)

Marco Maggi

Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini

 

VENEZUELA, Bolivarian Republic of

Te doy mi palabra (I give you my word)

Argelia Bravo, Félix Molina (Flix)

Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini

 

ZIMBABWE, Republic of

Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.

Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro

Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta

 

ITALO-LATIN AMERICAN INSTITUTE

Voces Indígenas

Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale

ARGENTINA

Sofia Medici and Laura Kalauz

PLURINATIONAL STATE OF BOLIVIA

Sonia Falcone and José Laura Yapita

BRAZIL

Adriana Barreto

Paulo Nazareth

CHILE

Rainer Krause

COLOMBIA

León David Cobo,

María Cristina Rincón and Claudia Rodríguez

COSTA RICA

Priscilla Monge

ECUADOR

Fabiano Kueva

EL SALVADOR

Mauricio Kabistan

GUATEMALA

Sandra Monterroso

HAITI

Barbara Prézeau Stephenson

HONDURAS

Leonardo González

PANAMA

Humberto Vélez

NICARAGUA

Raúl Quintanilla

PARAGUAY

Erika Meza

Javier López

PERU

José Huamán Turpo

URUGUAY

Gustavo Tabares

 

Ellen Slegers

  

001 Inverso Mundus. AES+F

Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 31st

Organization: VITRARIA Glass + A Museum

www.vitraria.com

www.inversomundus.com

 

Catalonia in Venice: Singularity

Cantieri Navali, Castello, 40 (Calle Quintavalle)

May 9th - November 22nd

Organization: Institut Ramon Llull

www.llull.cat

venezia2015.llull.cat

 

Conversion. Recycle Group

Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)

May 6th - October 31st

Organization: Moscow Museum of Modern Art

www.mmoma.ru/

 

Dansaekhwa

Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)

May 7th – August 15th

Organization: The Boghossian Foundation

www.villaempain.com

 

Dispossession

Palazzo Donà Brusa, Campo San Polo, 2177

May 9th - November 22nd

Organization: European Capital of Culture Wroclaw 2016

wroclaw2016.pl/biennale/

 

EM15 presents Doug Fishbone’s Leisure Land Golf

Arsenale Docks, Castello, 40A, 40B, 41C

May 6th - July 26th

Organization: EM15

www.em15venice.co.uk

 

Eredità e Sperimentazione

Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia

May 9th - November 22nd

Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova

www.bioarchitettura.it

 

Frontiers Reimagined

Palazzo Grimani, Castello, 4858 (Ramo Grimani)

May 9th - November 22nd

Organization: Tagore Foundation International; Polo museale del Veneto

www.frontiersreimagined.org

 

Glasstress 2015 Gotika

Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;

May 9th — November 22nd

Organization: The State Hermitage Museum

www.hermitagemuseum.org

 

Graham Fagen: Scotland + Venice 2015

Palazzo Fontana, Cannaregio, 3829 (Strada Nova)

May 9th - November 22nd

Organization: Scotland + Venice

www.scotlandandvenice.com

 

Grisha Bruskin. An Archaeologist’s Collection

Former Chiesa di Santa Caterina, Cannaregio, 4941-4942

May 6th – November 22nd

Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia

www.unive.it/csar

 

Helen Sear, ... The Rest Is Smoke

Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)

May 9th - November 22nd

Organization: Cymru yn Fenis/Wales in Venice

www.walesinvenice.org.uk

 

Highway to Hell

Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)

May 9th - November 22nd

Organization: Hubei Museum of Art

www.hbmoa.com

 

Humanistic Nature and Society (Shan-Shui) – An Insight into the Future

Palazzo Faccanon, San Marco, 5016 (Mercerie)

May 7th – August 4th

Organization: Shanghai Himalayas Museum

www.himalayasmuseum.org

 

In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia

Dorsoduro, 417 (Zattere)

May 6th - November 15th

Organization: ArsCulture

www.arsculture.org/

www.eyeofthunderstorm.com

 

Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators

Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)

May 9th – June 30th; September 11st – October 31st

Organization: Italian Art Motherboard Foundation (i-AM Foundation)

www.i-amfoundation.org

www.venicebiennale-italiadocet.org

 

Jaume Plensa: Together

Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore

May 6th – November 22nd

Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus

www.praglia.it

 

Jenny Holzer "War Paintings"

Museo Correr, San Marco, 52 (Piazza San Marco)

May 6th – November 22nd

Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia

www.writtenartfoundation.com

correr.visitmuve.it

 

Jump into the Unknown

Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262

May 9th – June 18th

Organization: Nine Dragon Heads

9dh-venice.com

 

Learn from Masters

Palazzo Bembo, San Marco, 4793 (Riva del Carbon)

May 9th – November 22nd

Organization: Pan Tianshou Foundation

pantianshou.caa.edu.cn/foundation_en

 

My East is Your West

Palazzo Benzon, San Marco, 3927

May 6th – October 31st

Organization: The Gujral Foundation

www.gujralfoundation.org

   

Ornamentalism. The Purvitis Prize

Arsenale Nord, Tesa 99

May 9th – November 22nd

Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015

www.purvisabalva.lv/en/ornamentalism

 

Path and Adventure

Arsenale, Castello, 2126/A (Campo della Tana)

May 9th – November 22nd

Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau

www.iacm.gov.mo

www.mam.gov.mo

www.icm.gov.mo

 

Patricia Cronin: Shrine for Girls, Venice

Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)

May 9th – November 22nd

Organization: Brooklyn Rail Curatorial Projects

curatorialprojects.brooklynrail.org

 

Roberto Sebastian Matta. Sculture

Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)

May 9th – November 22nd

Organization: Fondazione Echaurren Salaris

www.fondazioneechaurrensalaris.it

www.maggioregam.com/56Biennale_Matta

 

Salon Suisse: S.O.S. Dada - The World Is A Mess

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st

Organization: Swiss Arts Council Pro Helvetia

www.prohelvetia.ch

www.biennials.ch

 

Sean Scully: Land Sea

Palazzo Falier, San Marco, 2906

May 9th – November 22nd

Organization: Fondazione Volume!

www.fondazionevolume.com

 

Sepphoris. Alessandro Valeri

Molino Stucky, interior atrium, Giudecca, 812

May 9th – November 22nd

Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin

www.sepphorisproject.org

 

Tesla Revisited

Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 18th

Organization: VITRARIA Glass + A Museum

www.vitraria.com/

 

The Bridges of Graffiti

Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)

May 9th - November 22nd

Organization: Associazione Culturale Inossidabile

www.inossidabileac.com

 

The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice

Palazzo Tiepolo Passi, San Polo, 2774

May 6th - November 22nd

Organization: Fundaciò Artigas; ArsCulture

www.fundacio-artigas.com/

www.arsculture.org/

www.dialogueoffire.org

 

The Question of Beings

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)

www.mocataipei.org.tw

 

The Revenge of the Common Place

Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)

May 9th – September 30th

Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)

www.vub.ac.be/

 

The Silver Lining. Contemporary Art from Liechtenstein and other Microstates

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

October 24th – November 1st

Organization: Kunstmuseum Liechtenstein

www.kunstmuseum.li

www.silverlining.li

 

The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno

Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)

May 7th - November 22nd

Organization: ArsCulture

www.arsculture.org/

 

The Union of Fire and Water

Palazzo Barbaro, San Marco, 2840

May 9th - November 22nd

Organization: YARAT Contemporary Art Organisation

www.yarat.az

www.bakuvenice2015.com

 

Thirty Light Years - Theatre of Chinese Art

Palazzo Rossini, San Marco, 4013 (Campo Manin)

May 9th - November 22nd

Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art

www.globalartcenter.org

www.gdmoa.org

 

Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice

Arsenale, Castello, 2126 (Campo della Tana)

May 9th - November 22nd

Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council

www.westkowloon.hk/en/mplus

www.hkadc.org.hk

www.venicebiennale.hk

 

Under the Surface, Newfoundland and Labrador at Venice

Galleria Ca' Rezzonico, Dorsoduro, 2793

May 9th - November 22nd

Organization: Terra Nova Art Foundation

tnaf.ca

 

Ursula von Rydingsvard

Giardino della Marinaressa, Castello (Riva dei Sette Martiri)

May 6th - November 22nd

Organization:Yorkshire Sculpture Park

www.ysp.co.uk

 

We Must Risk Delight: Twenty Artists from Los Angeles

Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)

May 7th - November 22nd

Organization: bardoLA

www.bardoLA.org

 

Wu Tien-Chang: Never Say Goodbye

Palazzo delle Prigioni, Castello, 4209 (San Marco)

May 9th - November 22nd

Organization: Taipei Fine Arts Museum of Taiwan

www.tfam.museum

 

Xanadu

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Dream Amsterdam Foundation

www.dreamamsterdam.nl

www.nikunja.org/xanadu

 

Universities and Associations that have joined the project

Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna

Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena

 

Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale

Bice Curiger Massimiliano Gioni

A Parliament for a Biennale

Paolo Baratta, President of la Biennale di Venezia

Okwui Enwezor the ARENA Karl Marx’s Das Kapital

Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara

Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

See also Agata Olek talks about her 100% Acrylic Art Guards (Flickr 720p HD video)

 

Agata Olek (Flickr)

100% Acrylic Art Guards

 

"I think crochet, the way I create it, is a metaphor for the complexity and interconnectedness of our body and its systems and psychology. The connections are stronger as one fabric as opposed to separate strands, but, if you cut one, the whole thing will fall apart.

 

Relationships are complex and greatly vary situation to situation. They are developmental journeys of growth, and transformation. Time passes, great distances are surpassed and the fabric which individuals are composed of compiles and unravels simultaneously."

  

Agata Olek Biography. The SPLAT! of colors hits you in the face, often clashing so ostentatiously that it instantly tunes you into the presence of severely cheeky humor. A moment later the fatigue of labor creeps into your fingers as a coal miner's work ethic becomes apparent. Hundreds of miles of crocheted, weaved, and often recycled materials are the fabric from which the wild and occasionally wearable structures of her fantasylands are born.

 

Olek was born Agata Oleksiak in Poland and graduated from Adam Mickiewicz University in Poland with a degree in cultural studies. In New York, she rediscovered her ability to crochet and since then she has started her crocheted journey/madness.

 

Resume sniffers may be pleased to know Olek's work has been presented in galleries from Brooklyn to Istanbul to Venice and Brazil, featured in "The New York Times", "Fiberarts Magazine", "The Village Voice", and "Washington Post" and drags a tail of dance performance sets and costumes too numerous to mention.

 

Olek received the Ruth Mellon Award for Sculpture, was selected for 2005 residency program at Sculpture Space, 2009 residency in Instituto Sacatar in Brazil, and is a winner of apex art gallery commercial competition. Olek was an artist in an independent collective exhibition, "Waterways," during the 49th Venice Biennale. She was also a featured artist in "Two Continents Beyond," at the 9th International Istanbul Biennale.

 

Olek herself however can be found in her Greenpoint studio with a bottle of spiced Polish vodka and a hand rolled cigarette aggressively re-weaving the world as she sees.

 

agataolek.com

agataolek.com/blog

  

13th annual D.U.M.B.O. Art Under the Bridge Festival® (Sept 25 to Sept 27, 2009)

www.dumboartfestival.org/press_release.html

 

The three-day multi-site neighborhood-wide event is a one-of-a-kind art happening: where serendipity meets the haphazard and where the unpredictable, spontaneous and downright weird thrive. The now teenage D.U.M.B.O. Art Under the Bridge Festival® presents touchable, accessible, and interactive art, on a scale that makes it the nation's largest urban forum for experimental art.

 

Art Under the Bridge is an opportunity for young artists to use any medium imaginable to create temporary projects on-the-spot everywhere and anywhere, completely transforming the Dumbo section of Brooklyn, New York, into a vibrant platform for self-expression. In addition to the 80+ projects throughout the historical post-industrial waterfront span, visitors can tour local artists' studios or check out the indoor video_dumbo, a non-stop program of cutting-edge video art from New York City and around the world.

 

The Dumbo Arts Center (DAC) has been the exclusive producer of the D.U.M.B.O Art Under the Bridge Festival® since 1997. DAC is a big impact, small non-profit, that in addition to its year-round gallery exhibitions, is committed to preserving Dumbo as a site in New York City where emerging visual artists can experiment in the public domain, while having unprecedented freedom and access to normally off-limit locations.

 

www.dumboartscenter.org

www.dumboartfestival.org

www.video_dumbo.org

  

Related SML

+ SML Fine Art (Flickr Group)

+ SML Flickr Collections: Events

+ SML Flickr Sets: Art

+ SML Flickr Sets: Dumbo Arts Center: Art Under the Bridge Festival 2009

+ SML Flickr Tags: Art

+ SML Pro Blog: Art

flame on.

 

this one goads my ire.

 

this one makes me genuinely angry.

 

in this instance, the cart is so far in front of the horse, it is rendered invisible.

 

let me elucidate.

 

the confusing issue:

 

my local authority is considering a new scheme, a scheme in which i will be financially liable for all that which i do not recycle.

 

for all that i do not recycle, i will be fined. i will have to pay.

 

here is my problem with this particularly moronic and morally fractured 'idea'.

 

because my fellow human beings make choices.

 

they excersise freedom of choice.

 

because my fellow human beings choose to buy [and constantly renew!]:

 

cars

kitchens

cameras

televisions

bathrooms

holidays

freezers

ovens

computers

furniture

mp3 players

fridges

showers

hot tubs

sunglasses

jewelry

clothes

nappies

lawnmowers

 

et al

 

a fine is to be levied upon me for 'wasting precious resources'.

 

can no-one see the immense irony in this cretinous plan? as ever, my local government body is acting in a way that suggests collective stupidy, arrogance and moronic moral judgment that seems beyond measure.

 

consider one television. consider the gargantuan waste of resources needed to produce that one television:

 

the materials that make up the product itself.

the cars that are needed to transport the workers to the place that one television is manufactured.

the place, the enormous factory, that the one television is produced in.

the materials that make up that factory.

the materials that make up the means of production for that one television.

the metal

the brick

the plastics

the oil

the electricity

the water

the stone

the steel

the glass

the wood

the paper

the rubber

the money

the hours

the time

 

you would probably have to recycle every single scrap of your own waste [and that of your neighbours] for an entire lifetime before you could claw back a fraction of the profligate waste of resources needed to manufacture that single television.

 

i have to pay for your choices [and my own], for your purchases, for your products, for your lifestyles.

 

i'm paying already.

we are paying already.

with a planet.

and a species.

 

as ever, government slaps an elastoplast on the shotgun wound.

 

once again the questions need to be asked:

 

'how much do i need'?

'how much is enough'?

'is this purchase justified'?

 

do i really need a solid gold toilet seat?

 

subjective of course.

 

do not suppose i consider myself guiltless. i am as culpable as you. i am part of the problem.

 

flame off.

 

the|G|™

Handcut A2 paper collage. Lots of fluro and glow in the dark.

Found a few old collages from 2010/11 that I've not uploaded before. Traditional cut and paste collage. Lots of fluro colours, UV and glow in the dark paint, 31 x 43.5cm

just mailed this one out, it will be passed around the collective until finished

theme: music

 

WAFA Collective

7x7" handmade collage.

2.375x3.25x1.125” mixed media collage jewelry/gift box.

www.etsy.com/shop/argyleplaids

Handcut collage and digital print on old magazine pages with reflective materials and glow in the dark and UV areas.

 

Detail from a massive 122cm x 122cm collage made yesterday at a TEDx event. The collage was a response to the talks throughout the day over a 10 hour period. This thing was impossible to photograph as by the time I finished the lighting in the room was dimmed for the evening event. This particular collage also features lots of lenticular images, highly reflective materials and UV that are impossible to photograph. This was auctioned off for charity at the end of the evening.

Madone from a recycled coffee sack found at the Reverse Garbage Collective, and new hemp/cotton blend fabric. There are recycled buttons providing detail on the back pocket and the front has a hand-carved wooden button made by Trishalan Designs. Closes with a heavy duty brass jacket snap.

ffffound.com/image/39a42b8a970f63f7929eb343faa9d543eb7f7d...

 

www.ziguline.com/08/02/2009/versus09-group-show/

 

www.lasciailsegno.it/index.php?it/22/archivio-eventi/182/...

 

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STICK MY WORLD presenta "Satoboy versus Biodpi", urban street art expo, vernissage domenica 8 febbraio @ GlamSet - Corso Principe Amedeo 277, Cava de Tirreni (Salerno), a partire dalle ore 21 e 30.

 

Prima tappa di VERSUS2009, ciclo di "personali a due" organizzate ed autogestite contemporaneamente in tutta Italia dagli stessi "urban/street artist" partecipanti e che coinfluiranno alla fine di giugno nell'omonima collettiva presso la galleria MondoPop di Roma, nonchè nel terzo appuntamento di StickMyWorld presso il Circolo degli Artisti di Roma.

 

www.flickr.com/groups/versus2009/

www.myspace.com/versus_2009

www.versus2009.it

 

Domenica 8 febbraio, in contemporanea con la prima data romana, Cava de Tirreni ospiterà nuovamente due tra le realtà più attive della nuova scena street-art nazionale, che si confronteranno nella presentazione delle loro ultime opere in già parte anticipate durante l'ultimo workshop di Street Accademy tenutosi lo scorso 17 gennaio nello stesso comune salernitano.

 

Un confronto tra due reltà nate nella provincia campana che in breve tempo sono riuscite ad affermarsi fuori dai confini regionali, alternando una proficua attività artistica ed espositiva alla produzione, organizzazione e gestione di eventi e di campagne di interesse nazionale, nonchè alla collaborazione con partner internazionali. Coerentemente con questo approccio durante la serata verranno anche raccolti i poster degli artisti che vorranno parteicpare al Madrid Poster Festival che si terrà il 27 marzo all'Espora Art Gallery di Madrid (progetto gemellato con Stick My World).

  

SATOBOY COLLECTIVE

(Salerno - Roma - Milano - NewYork)

Collettivo di creativi che dal 2006 coinvolge architetti, designers, graphic designers, illustratori e writers, con l’intento di sperimentare nuovi mezzi di comunicazione e testarli in ambiente urbano e non, miscelando le varie espressioni della street-art fino a simulare il guerrilla marketing e adv.

Il collettivo, i cui progetti sono stati pubblicati nei principali web magazines del settore e non (Wooster Collective, Smashing Magazine, Ninja Marketing, La Repubblica, etc.), nel solo corso del 2008 ha prodotto la campagna internazionale Anti Olimpic Graffiti, la mostra "Recycle" di Salerno, ha partecipato all’"Expo Stickers ‘08" di Curitiba e di San Paolo (Brasile), a "Sweet & Seldom Seen" di New York, ha affiancato Omino71 nella promozione di "Stick My Surfboard" e divenuto membro fondatore dell’progetto itinerante Stick My World (nato da un'idea di Omino71) con il quale è stato media partner dei più importanti eventi street-art italiani ed europei (possiamo citare il prossimo Madrid Poster Festival 2009) ed ha ideato e prodotto il graphic design per le t-shirts di Uniqlo (Giappone) per la stagione primavera/estate 2009.

Per il 2009 sarà impegnato in partecipazioni e organizzazioni in eventi di livello nazionale.

 

www.myspace.com/satoboy

www.flickr.com/photos/satoboy/

www.stickmyworld.com

  

BIODPI

Nasce nel '76 sotto il segno del dragone,dal 2000 lavora come graphic designer.

Nel 2004 muove i primi passi nel mondo della street art e da quel momento i suoi stickers e i suoi posters finiscono in tutti gli angoli delle città in cui passa…

oltre che nelle strade di mezzo mondo le sue opere "approdano" ben presto in diverse mostre collettive: Calcomania (Argentina dicembre 2007),

Poster Power (Salerno - gennaio 2008), Small Art Exibition (Salerno/Napoli - aprile 2008), Cafè all'Ortika (Santa Maria Capua Vetere -CS- giugno 2008), Stick My Car (Roma ottobre 2008), Horror P_arti (Maddaloni - CE - ottobre 2008, Expò Toma Pegata (Logrogno Spagna ottobre 08), Hit+Run 3th (California – U.S.A. ottobre 2008), STICKER AWARDS 2008 EXHIBITION (Berlino – Germania ottobre 2008), Turin Poster Festival (Torino novembre 2008), Mistery Christmas (Essen - Germania dicembre 2008).

Dal 2007 è ideatore e art director dell'evento : "Ortika la street art va in campagna" @ Dugenta (BN)

 

www.myspace.com/biodpi

www.flickr.com/photos/biodpi/

www.biodpi.it

8x10" handmade collage.

Took a lunchtime recce to figure out how to get near to the new Camgrain grain silos I pass each day at West Wratting. Now to find a better vantage point of the gorgeous stainless steel grain storage towers.

 

As used in Slashfood's article GreenDaily in 60 Seconds: Farms, food facts, and fishing.

 

Used in Enviroblog's article on A farmer's 'come to Jesus' moment

 

Used in ecosalon's lifestyle article Farm Bill 101

 

Used in Local Forage's article Organic vs. Sustainable

 

Used in Upturned Earth's blog article Hey ho the dairy subsidy, the farmer on the dole.

 

Used in New Hampshire Public Radio's article on The Dirt On Soil.

 

As used in The Style PA at Home's blog article RECYCLING - Waste Used Wisely.

 

Used in the 2010 Biodiversity Indicators Partnership newsletter BIP/News and report on the Ecological Footprint.

 

Used in TechCrunch's article Mel Karmazin Gives Away the Farm, Saves Job.

 

Used in GreenBiz.com's article Farms' Water Management a Key to Minimizing Drought: Report.

 

Used in Green Packs article Organic Farming, The Clean and Healthy Option?.

 

Featured in Mother Nature's Network (MMN) article End o' the week links: Energy.

 

Featured in Causecast's article Organic vs Local? Who Cares. Neither is Sustainable.

 

Featured in Med Minded's article Does Organic Food = Better World?

 

Featured in the Mom Squad Blog article Celebrate Spring!.

 

Featured in cafébabel.com's article Sale via internet: end of middle man for agricultural products.

 

Featured in Public Radio Kitchen's article

How Farmers Are Faring, Part I.

 

Featured in Science Buzz's article Agribusiness saves the planet!.

 

Used in the BNet article Ethanol Industry Squeezes an Otherwise Profitable Farmer Mac.

 

Used in Headlines from Floyd's blog article Bet the Farm on Email.

 

Used in The Takeaway's article Old MacDonald Had An Intern.

 

Used in the Lorenzo article The Chinese and Arabs are buying poor countries’ farms on a colossal scale. Be wary of the results.

 

Used in A Clean Life's blog article This Week in Links – Greenerize

 

Currently used as Eat Less Meats's Twitter avatar.

 

Featured in Deutsch-Japanische Jugendgesellschaft e.V. module C5: Sustainability from the producing and consuming point of view

 

Used in The Widman Blob article Too Little Farming.

 

Used in The Happy Rock's piece Is Capitalism Always The Answer?.

 

Used in The Atlantic's article How to Feed the World.

 

Used in Philip's Blue blog article Book Review: ‘Guns, Germs and Steel,’ by Jared Diamond.

 

Used in the slide deck An Ecosystem Approach To Social Media.

 

Used in Mother Earth News By Tackling Climate Change, United States Could Gain 4.5 Million Jobs by 2030.

 

Used in Polon's piece Organic language: marketers should promote wider benefits.

 

Used in Lauren's National & State Parks Blog piece Try Your Hand at Farming at Cuyahoga Valley National Park.

 

Used in the Mother Nature Network piece Blog Action Day 2009: Climate change.

 

Used by Geography All The Way in their KS3 sectionEconomic Activities.

 

Used in the Daily Bread and Butter's piece Agriculture reform's latest foe - Bread & Butter.

 

Used in the Urban Workbench piece Preparedness and Possibilities.

 

Used in the cyberpop article from FarmVille to the Classroom.

 

Used on the Sidney Eve Matrix piece pedagogy inspired by Farmville.

 

Used in Financial News Express' piece Agricultural Economic News February 19, 2010.

 

Used in the the Energy Collective's article Breaking Down the Obama Biofuel Plan.

 

Used in Rightous Marketing's piece Is There A Better Way?.

 

Used in Mother Earth News' piece By Tackling Climate Change, United States Could Gain 4.5 Million Jobs by 2030.

 

Used in metablog's piece “In Defense of Food” – Part 2 – Nutritionalism.

 

Used in TechCrunch's article Will AOL and Demand Media’s Content Farm Strategy Prevail?.

 

Use in Eat.Drink...Better.'s piece Is RoundUp Killing the Soil?

 

Used in the Folks Gotta Eat piece Wait, isn't Walmart the devil?.

 

Used in onextrapixel's piece A Designer and Developer’s Dilemma: 9 Detestable “Requests”.

 

Used in EarthSky's piece Sean Smukler: First steps in feeding 9 billion.

7.25x9.25" handmade collage.

See also Agata Olek talks about her 100% Acrylic Art Guards (Flickr 720p HD video)

 

Agata Olek (Flickr)

100% Acrylic Art Guards

 

"I think crochet, the way I create it, is a metaphor for the complexity and interconnectedness of our body and its systems and psychology. The connections are stronger as one fabric as opposed to separate strands, but, if you cut one, the whole thing will fall apart.

 

Relationships are complex and greatly vary situation to situation. They are developmental journeys of growth, and transformation. Time passes, great distances are surpassed and the fabric which individuals are composed of compiles and unravels simultaneously."

  

Agata Olek Biography. The SPLAT! of colors hits you in the face, often clashing so ostentatiously that it instantly tunes you into the presence of severely cheeky humor. A moment later the fatigue of labor creeps into your fingers as a coal miner's work ethic becomes apparent. Hundreds of miles of crocheted, weaved, and often recycled materials are the fabric from which the wild and occasionally wearable structures of her fantasylands are born.

 

Olek was born Agata Oleksiak in Poland and graduated from Adam Mickiewicz University in Poland with a degree in cultural studies. In New York, she rediscovered her ability to crochet and since then she has started her crocheted journey/madness.

 

Resume sniffers may be pleased to know Olek's work has been presented in galleries from Brooklyn to Istanbul to Venice and Brazil, featured in "The New York Times", "Fiberarts Magazine", "The Village Voice", and "Washington Post" and drags a tail of dance performance sets and costumes too numerous to mention.

 

Olek received the Ruth Mellon Award for Sculpture, was selected for 2005 residency program at Sculpture Space, 2009 residency in Instituto Sacatar in Brazil, and is a winner of apex art gallery commercial competition. Olek was an artist in an independent collective exhibition, "Waterways," during the 49th Venice Biennale. She was also a featured artist in "Two Continents Beyond," at the 9th International Istanbul Biennale.

 

Olek herself however can be found in her Greenpoint studio with a bottle of spiced Polish vodka and a hand rolled cigarette aggressively re-weaving the world as she sees.

 

agataolek.com

agataolek.com/blog

  

13th annual D.U.M.B.O. Art Under the Bridge Festival® (Sept 25 to Sept 27, 2009)

www.dumboartfestival.org/press_release.html

 

The three-day multi-site neighborhood-wide event is a one-of-a-kind art happening: where serendipity meets the haphazard and where the unpredictable, spontaneous and downright weird thrive. The now teenage D.U.M.B.O. Art Under the Bridge Festival® presents touchable, accessible, and interactive art, on a scale that makes it the nation's largest urban forum for experimental art.

 

Art Under the Bridge is an opportunity for young artists to use any medium imaginable to create temporary projects on-the-spot everywhere and anywhere, completely transforming the Dumbo section of Brooklyn, New York, into a vibrant platform for self-expression. In addition to the 80+ projects throughout the historical post-industrial waterfront span, visitors can tour local artists' studios or check out the indoor video_dumbo, a non-stop program of cutting-edge video art from New York City and around the world.

 

The Dumbo Arts Center (DAC) has been the exclusive producer of the D.U.M.B.O Art Under the Bridge Festival® since 1997. DAC is a big impact, small non-profit, that in addition to its year-round gallery exhibitions, is committed to preserving Dumbo as a site in New York City where emerging visual artists can experiment in the public domain, while having unprecedented freedom and access to normally off-limit locations.

 

www.dumboartscenter.org

www.dumboartfestival.org

www.video_dumbo.org

  

Related SML

+ SML Fine Art (Flickr Group)

+ SML Flickr Collections: Events

+ SML Flickr Sets: Art

+ SML Flickr Sets: Dumbo Arts Center: Art Under the Bridge Festival 2009

+ SML Flickr Tags: Art

+ SML Pro Blog: Art

emiko oye's boxer brief made from recycled circuit boards and elastic, monofilament, rubber, base metal, cotton spandex. 2008. photo by Christine Dhein.

Part of a collection of recycled circuit board jewelry, titled Jewelry_cycle, by the Metal Arts Critique Collective.

See photos from the Jewelry_cycle exhibition on the BayAreaCritiqueCollective's flickr.

Netherlands, Groningen, Verbindingskanaal, Groninger Museum, Alessandro Mendini, Cuba! Art and history from 1868 until today, Cuba Colective.

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Groninger Museum - almost 10 years went by after my last visit to this fab museum for the Anton Corbijn exhibition. I came back for the Cuba ! exhibition but was of course thrilled to have a photographic go at the fascinating and for some outrageous architecture of Alessandro Mendini (the supervising architect) and four guest architects Philippe Starck, Michele de Lucchi, Coop Himmelb[l]au and Team 4.

It’s hard to pin a name on the style of the museum – it’s very eclectic, post modern, and there’s some nice deconstruction going on. Obviously Mendini isn’t a functionalist – actually he has taken a radical stance against it with this building: Individual versus mass culture. His works is built on mixing cultures and the expression of it. It’s also about the recycling of styles and cross- disciplinary decoration of buildings – the “redesign” concept. And interesting article about the Groninger Museum is here.

 

The Cuba exhibition is held in the Mendini pavilion – the most classic and formal part of the museum with an absence of natural light. The partitioning of the this pavilion obviously suited the thematic structure of the Cuba exhibition but I would have loved to see it in the delightful decontructivist pavilion of Coop Himmelb(l)au that’s situated on top of the Mendini. The philosophy behind it and the dynamics of its multi-level space would have made a (far) better connection with the exuberance and social de/reconstruction that’s at the root of Cuban culture. But that’s just me. The up-side was that I was able to shoot the Himmelb(l)au empty and what a pleasure it was. The pavilion is reserved for sculptures and installations and social gatherings of the museum.

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The vide and starircase of the Mendini pavilion on display here connects two levels with the Himmelb(l)au pavilion. On the right is Cuba Collective wall painting Salón de Mayo, (1967, Museo Nacional de Bellas Artes,Havana).

From the catalogue: “…. a wall painting of 55 square metres was made in July 1967 by some hundred artists from several countries.During this summer, Cuba was host to an important political and socio-cultural event: the first presentation of the MaySalon on the American continent…”

 

Best viewed: LARGE.

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