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+++ FROM WIKIPEDIA ++++
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 References
5 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[14]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
2018
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1Art directors
2The festival
3The Rencontres d'Arles award winners
4References
5External links
Art directors[edit]
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival[edit]
A photography exhibition, Rencontres d'Arles, 2010
Events[edit]
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre[edit]
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year[edit]
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books[edit]
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions[edit]
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards[edit]
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award[edit]
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery[edit]
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes[edit]
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images[edit]
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget[edit]
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee[edit]
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners[edit]
2002[edit]
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003[edit]
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004[edit]
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005[edit]
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006[edit]
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007[edit]
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008[edit]
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009[edit]
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010[edit]
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011[edit]
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012[edit]
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013[edit]
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014[edit]
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015[edit]
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016[edit]
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017[edit]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)[14]
2018[edit]
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
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O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1Art directors
2The festival
3The Rencontres d'Arles award winners
4References
5External links
Art directors[edit]
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival[edit]
A photography exhibition, Rencontres d'Arles, 2010
Events[edit]
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre[edit]
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year[edit]
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books[edit]
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions[edit]
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards[edit]
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award[edit]
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery[edit]
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes[edit]
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images[edit]
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget[edit]
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee[edit]
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners[edit]
2002[edit]
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003[edit]
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004[edit]
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005[edit]
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006[edit]
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007[edit]
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008[edit]
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009[edit]
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010[edit]
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011[edit]
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012[edit]
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013[edit]
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014[edit]
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015[edit]
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016[edit]
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017[edit]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)[14]
2018[edit]
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 References
5 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[14]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
2018
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1Art directors
2The festival
3The Rencontres d'Arles award winners
4References
5External links
Art directors[edit]
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival[edit]
A photography exhibition, Rencontres d'Arles, 2010
Events[edit]
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre[edit]
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year[edit]
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books[edit]
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions[edit]
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards[edit]
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award[edit]
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery[edit]
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes[edit]
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images[edit]
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget[edit]
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee[edit]
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners[edit]
2002[edit]
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003[edit]
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004[edit]
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005[edit]
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006[edit]
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007[edit]
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008[edit]
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009[edit]
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010[edit]
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011[edit]
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012[edit]
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013[edit]
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014[edit]
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015[edit]
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016[edit]
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017[edit]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)[14]
2018[edit]
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
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O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
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Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
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----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1Art directors
2The festival
3The Rencontres d'Arles award winners
4References
5External links
Art directors[edit]
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival[edit]
A photography exhibition, Rencontres d'Arles, 2010
Events[edit]
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre[edit]
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year[edit]
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books[edit]
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions[edit]
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards[edit]
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award[edit]
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery[edit]
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes[edit]
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images[edit]
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget[edit]
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee[edit]
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners[edit]
2002[edit]
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003[edit]
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004[edit]
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005[edit]
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006[edit]
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007[edit]
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008[edit]
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009[edit]
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010[edit]
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011[edit]
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012[edit]
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013[edit]
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014[edit]
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015[edit]
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016[edit]
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017[edit]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)[14]
2018[edit]
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
+++ FROM WIKIPEDIA ++++
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 References
5 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[14]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
2018
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
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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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
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#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Dutch postcard. Merle Oberon in Till We Meet Again (Edmund Goulding, William K. Howard (uncredited), William Keighley (uncredited), Anatole Litvak (uncredited), 1940).
Indian-born British actress Merle Oberon (1911-1979) had her breakthrough as Anna Boleyn in The Private Life of Henry VIII (1933). She played leading roles in such British films as The Scarlet Pimpernel (1934), before she travelled to Hollywood to star in classics such as The Dark Angel (1935) and Wuthering Heights (1939).
From the early days of her career, Merle Oberon succeeded in establishing a fabricated history of her origins in which she said that she had been born in Tasmania, Australia. According to her birth certificate, Oberon was born in Bombay, British India in 1911 as Estelle Merle Thompson. Merle was given ´Queenie´ as a nickname, in honour of Queen Mary who visited India along with King George V in 1911. Her parentage has remained deliberately obscure over the years. Some sources claim Charlotte Selby, a Eurasian from Ceylon with partial Māori heritage, and Arthur Terrence O'Brien Thompson, a British mechanical engineer from Darlington, who worked in Indian Railways, as Merle's parents. At the age of fourteen years, Charlotte had given birth to her first child Constance, in Ceylon, from a relationship with Henry Alfred Selby, an Irish foreman of a tea planter. Some sources claim that Constance was the biological mother of Merle, even though Charlotte raised Merle as her own child. Merle believed the truth about her parentage would have destroyed her career prospects due to societal expectations and restrictions at that time. In 1914, Arthur Thompson joined the British Army and later died of pneumonia on the Western Front during the Battle of the Somme. Merle, with her mother (or grandmother) led an impoverished existence in shabby Bombay flats for a few years. Then, in 1917, they moved to better circumstances in Calcutta. Oberon received a foundation scholarship to attend La Martiniere Calcutta for Girls, a well-known Calcutta private school. There, she was constantly taunted for her unconventional parentage and eventually quit school and had her lessons at home. Oberon first performed with the Calcutta Amateur Dramatic Society. She was also completely enamored of the films and enjoyed going out to nightclubs. As she entered her teen years, she dated increasingly older, urbane men. In 1928, she dated a former actor named Colonel Ben Finney, and dated him. He promised to introduce her to Rex Ingram of Victorine Studios, if she could come to France. Oberon jumped at the offer and decided to follow the man to the studios in France. There, Oberon and her mother found that their supposed benefactor had dodged them, but he had left a good word for her with Rex Ingram who liked Oberon's exotic appearance. He hired her as an extra in a party scene in The Three Passions (1928, Rex Ingram) starring Alice Terry and Ivan Petrovich.
Merle Oberon moved to England in 1928. Initially she worked as a club hostess under the name Queenie O'Brien and played as an extra in various films. Finally she landed a part with substance: the role of Ysobel d'Aunay in Men of Tomorrow (1933, Zoltan Korda, Leontine Sagan) with Robert Donat. She combined a slightly frosty reserve and a distinctive British accent with a somewhat exotic beauty which suggested a passionate nature. Her career went on to greater heights, thanks to director-producer Alexander Korda, who persuaded her to take the name under which she became famous. Korda gave her a small but prominent role, under the name Merle Oberon, as Anne Boleyn in The Private Life of Henry VIII (1933) opposite Charles Laughton. The film became a major success and Korda gave her leading roles, such as the temperamental dancer Antonita in The Private Life of Don Juan (1934, Alexander Korda) opposite Douglas Fairbanks Sr., and Lady Blakeney in the The Scarlet Pimpernel (1934, Harold Young) with Leslie Howard, who became her lover for a while. Oberon went to great lengths to disguise her mixed-race background and when her dark-skinned mother moved in with her, she masqueraded as Oberon's maid.
Alexander Korda sold ´shares´ of Merle Oberon´s contract to producer Samuel Goldwyn, who gave her good vehicles in Hollywood. Her ´mother´ stayed behind in England. Oberon received her only Oscar nomination as Best Actress for The Dark Angel (1935, Sidney Franklin) opposite Fredric March. Her work in that film resulted in offers for more quality pictures, and she appeared in several well received films, such as These Three (1936, William Wyler), a worthy but altered adaptation of Lillian Hellman's The Children's Hour in which a scandalous lesbian romance was rewritten as a heterosexual triangle; Over the Moon (1939, Thornton Freeland) with Rex Harrison, and The Divorce of Lady X (1938, Tim Whelan). She was selected to star in Korda's epic film I, Claudius (1937, Josef von Sternberg) as Messalina, but unfortunately the film was abandoned in mid-production after Oberon was seriously injured in a 1937 car crash. Oberon was scarred for life, but skilled lighting technicians were able to hide her injuries from cinema audiences. She went on to appear as Cathy in Wuthering Heights (1939, William Wyler) opposite Laurence Olivier as Heathcliff. It would become her best remembered performance.
The 1940´s proved to be a very busy decade for Merle Oberon, as she appeared in no less than 15 films, including That Uncertain Feeling (1941, Ernst Lubitsch), The Lodger (1944, John Brahm) about Jack the Ripper, and A Song to Remember (1945, Charles Vidor) as the tempestuous and unconventional author George Sand. Oberon became Lady Korda upon her husband's knighthood in 1942. She divorced him in 1945, to marry cinematographer Lucien Ballard. Ballard devised a special camera light for her to eliminate her facial scars on film. The light became known as the Obie. After her role in Berlin Express (1948, Jacques Tourneur) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (1951, Bernard Vorhaus). She then appeared as Empress Josephine in Désirée (1954, Henry Koster) with Marlon Brando and Jean Simmons. Unfortunately, she began appearing in fewer and fewer films over the ensuing years. After her divorce from Ballard in 1949, she married Italian-born industrialist Bruno Pagliai (from 1957 till 1973). They adopted two children, Francesca Pagliai and Bruno Pagliai Jr. Her final film was Interval (1973, Daniel Mann) which she also produced, and co-edited. According to Bruce Eder of All Movie Guide it is “a strange romantic drama that costarred her future husband Robert Wolders, that failed to find good reviews or an audience”. After that she retired and lived in Malibu, California. In 1975 she married Dutch actor Robert Wolders – who would later become Audrey Hepburn's and Leslie Caron's companion. In 1979 she died in Malibu after suffering a stroke at the age of 68. Her will left most of her money to be divided between her children. She left $1 million to the Motion Picture Country Home and Hospital. Her husband, Robert Wolders, got nothing, at his own request. Merle Oberon has a star on the Hollywood Walk of Fame for her contributions to Motion Pictures. Her strange and affecting true life story was the subject of Michael (nephew of Alexander) Korda's best-seller, Queenie (1985), made into a TV miniseries, Queenie (1987) starring Mia Sara.
Sources: Brian McFarlane (Encyclopedia of British Film), Denny Jackson (IMDb), Bruce Eder (All Movie Guide), Turner Classic Movies, Wikipedia and IMDb.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
London, Warwick Gardens, W14 postcode
Taken from www.catholicauthors.com/chesterton.html
The paternal great-grandfather, grandfather and father of G. K. Chesterton were engaged in the business of selling houses (estate agents as they are called in England). His father, Edward, married Marie Grosjean, whose family had long been English, but had originally come from French Switzerland. They had three children, Gilbert, born on May 29, 1874, Cecil, five years his junior, and Beatrice, who died in childhood.
Gilbert's father distinguished between living and making a living: a successful businessman, he had a dozen hobbies, not the least of them the making of a toy-theatre, and he was widely read, especially in English literature.
A happy childhood in a happy home laid the foundation for Gilbert's sane and sensible outlook on life. As a little boy he read fairy tales; as a big boy he wrote and illustrated them, some of which are preserved in his book The Coloured Lands. Gilbert first attended Colet Court School, entering St. Paul's as a day student when he was twelve. The reports on him for his six years there (1887-92) were that he was a good boy but an indifferent student, a dreamer, interested chiefly in drawing and English literature. In his "dramatic journal,"kept irregularly from his sixteenth year, he dramatized scenes from Scott and burlesqued portions of Shakespeare. He later acknowledged the strong influence on his youthful formation made by the Junior Debating Club, of which he was chairman. It met weekly at the home of one of its dozen teenage members and, following tea, one of them read a paper which was then debated. In the issues of its organ, The Debater, his first prose and verse were printed; his essays on Milton, Pope, Gray, Cowper, Burns, and Wordsworth being noteworthy. In his last year at St. Paul's (1892), he entered a competition for a prize poem (on St. Francis Xavier), and won it. From 1892 to 1895 he studied art at the Slade School and during part of the time he attended lectures on English literature at University College. A fellow-student whose family controlled the publishing firm of Hodder & Stoughton gave him some art books to review in the firm's monthly, The Boohman. And upon leaving Slade, he entered the office of a publisher of spiritualistic literature and later the office of the general publisher, Fisher Unwin. There he began to write Greybeards at Play as well as to revise, edit and counsel the works of others.
At St. Paul's Gilbert formed lifelong friendships with the future writer Edmund C. Bentley and with Lucian Oldershaw. In 1896 Lucian was courting Ethel Blogg (anglicized from Blogue) and took Gilbert with him to call. At first sight he fell in love with her sister Frances and, after a courtship extended by his then meager earnings, they were married in 1901. It was Lucian who, in 1900, also introduced the twenty-six-year old Gilbert to the thirty-year-old Belloc. Their reciprocal influence was lifelong as was their friendship.
In 1899 Gilbert began writing for The Speaker, a Liberal weekly. His first book, a volume of comic verse which he also illustrated, Greybeards at Play, was successfully published in 1900; later that year, his father financed publication of his second book, The Wild Knight and Other Poems. But it was his brilliant though unpopular pro-Boer stand on the Boer War which first brought him to public attention, and by 1901 he also was writing regularly for The Daily News. His third book, The Defendant (1901), comprised some of his essays from The Speaker, and is suffused with paradoxes, a literary form which has since been associated with his name. ("I did not acquit Chesterton of paradox," wrote his great admirer Msgr. Knox, "but, after all, what was a paradox but a statement of the obvious so as to make it sound untrue?")
He prided himself on being a journalist, and much of his work was first published in the popular journals of the day, many of his books being collected and edited from these essays, and much more of it has never been collected at all.
He was a tall man-six-foot two, and a stout one- nearly three hundred pounds; he dressed unconventionally in a wide-brimmed slouch hat and a flowing cloak; and carried a walking stick; he had a leonine head and a rather straggly blonde mustache. By the time he was only thirty-two he had become famous, instantly recognized in public and in caricature. True, some of his most popular works had been published by then: G. F Watts (1902), Twelve Types (1902), Robert Browning (in the English Men of Letters series, 1903), The Napoleon of Notting Nill, which he called his first important book (1904), The Club of Queer Trades (1905), Heretics (1905), and Charles Dickens (1906). And in social intercourse he was already one with such personalities of the day as Joseph Conrad, Henry James, Laurence Binyon, James M. Barrie, Max Beerbohm, Swinburne, George Meredith, Yeats, and Granville Barker.
In 1904, Sir Oliver Lodge invited him to become a candidate for the Chair of Literature at Birmingham University, but he declined. The invitation was doubtless extended on the strength of his books on Browning and on Dickens. The success of the latter was such that he was requested to write a series of prefaces to all of Dickens' novels.
At the time of his marriage he believed in the basic Christian religious truths but in no particular religion. His wife was a convinced Anglo-Catholic, and she was particularly pleased when in 1905 he accepted an invitation to be the first of a series of lay preachers in St. Paul's Church, Covent Garden.
From this time on there was an almost constant stream of lecture engagements far and wide and to almost every type of organization,-religious, literary, social, and even political. He was famous, he was wanted, and he couldn't say no. His wife became his secretary recording times, places, subjects, and arranging itineraries. He became so pressed for time that he had to write at odd moments and to do his newspaper essays at deadline. This constant pressure extended from 1904 to 1908. He was notoriously absent-minded. Typical was the telegram he sent his wife when he was en route to give a lecture: "Am in Market Harborough. Where ought I to be?~' He hated physical exertion as much as he reveled in mental activity.
Another phantasy, The Man Who Was Thursday (1907) was followed by Orthodoxy (1908). When Gilbert had attacked the philosophy of G. S. Street, he retorted that he would worry about it when G.K. would clarify his own. The tesult was Orthodoxy, a series of positive arguments for Christianity. Etienne Gilson considered it ''The best piece of apologetic the century has produced." Incidentally, Gilbert sold the manuscript outright for about $400.00. The meager returns on his numerous and popular writings moved him at this time to employ a literary agent; with gratifying results.
He began a weekly column, "Our Notebook,'' in The Illustrated London News in 1905 and continued it until his death thirty-one years later.
In 1909 he and his wife moved from Battersea, London, to the suburban town of Beaconsfield, which was to be their home for the rest of their lives. Their desire for children was never to be fulfilled; later they adopted Dorothy Collins who had become Gilbert's secretary in 1926. At Overroads, their Beaconsfield home, he was removed from the bustle and bars of Fleet Street and had more leisure for his friends: Max Beerbohm, Jack Phillmore, Msgr. O'Connor, Maurice Baring, Belloc, George Wyndham, Msgr. Knox, and a host of others. But his social life did not deter the stream of his books, as witness The Ball and the Cross, What's Wrong With the World (changed by his publishers from What's Wrong? and in which he formulated his sociology), Alarms and Discursions, and Blake (all published in 1910), Criticisms and Appreciations of Dickens, The Innocence of Father Brown, and, what many deem his greatest writing, The Ballad of the White Horse (all published in 1911). Too, his interest in politics, which he had had from boyhood, became more active: he began by fighting the sale of peerages as a means of secretly raising party funds, and continued blasting every other form of political corruption. Of necessity this interest included social reform, public education, a free press, etc. He resigned from the Liberal owned Daily News (a property of Cadbury of Cadbury's Cocoa) to write for the Daily Herald. He doubtless resigned just before being asked to, for his recent statements regarding the Liberal party leaders included: "Some of them are very nice oldgentlemen, some of them are very nasty old gentlemen, and some of them are old without being gentlemen at all." And again, "The best of His Majesty's Ministers are agnostics, and the worst are devil worshippers." This hit hard because at least nominally Church of England men (some ecclesiastics) were the predominant rulers of the realm.
Reacting against what they believed wrong with the English social-economic condition, Gilbert, his brother Cecil, and Belloc formulated their own program: Distributism. One of their principal points of controversy was over private ownership, chiefly ownership of the land which was tragically curtailed by the law of enclosure by which some five million acres ceased in effect to be the common property of the poor and became the private property of the rich. In books and articles they carried on their fight for the liberty of Englishmen against increasing enslavement to a plutocracy, and to expose and combat corruption in public life. As their audience increased and took form, they decided upon publishing their own paper. It was called The Eye Witness, from 1911-12, The New Witness, from 1912-23, G.K.'s Weekly, from 1925-36, and The Weekly Review, since 1936. It was edited at various times by each of the three. In the Marconi case, they contended that Godfrey Isaacs had used Rulus Isaacs to purchase ministerial favor. The court verdict in this complicated litigation was a gentle rebuke to the Isaacs and a small fine for editor Cecil. So small in view of the serious charges made that the Chesterbelloc considered it a moral victory. But the government then showed its contempt for integrity by appointing Godfrey Isaacs as the Viceroy of India and giving Rufus the title of Lord Reading.
Gilbert's books in this period included Manalive (1911), A Miscellany of Men, essays (1912), The Victorian Age in Literature (1913), The Wisdom of Father Brown (1914), and The Flying Inn (1914). His poetic play, Magic, was produced in England in October 1913, and in Germany soon afterward. And following a conversation with Msgr. O'Connor on the subject, he wrote his best known single poem, "The Ballad of Lepanto" (19 12).
In September 1916, Cecil enlisted as a private in the army and died in France on December 6, 1918. Upon his enlistment, Gilbert succeeded him as editor of The New Witness.
Gilbert went on a lecture tour to Palestine (which became a determining factor in his conversion) in 1919, to Italy in 1920, and to the United States in 1921-22 and again in 1930-31. From these travels came The New Jerusalem (1920), What I Saw in America (1922) and Sidelights on New London and Newer York (1932). His American tour included a series of thirty-six lectures on Victorian literature and history at the University of Notre Dame (his poem "The Arena" commemorates his visit), as well as talks delivered at San Francisco, Omaha, Oklahoma City, Nashville, New York, Chicago, Detroit, Philadelphia, Boston, and other cities.
The same period witnessed the publication of his Irish Impressions (1919), The Uses of Diversity (1920), The Superstition of Divorce (1920), Eugenics and Other Evils (1922), The Man Who Knew Too Much (1922), and Fancies Versus Fads (1923). Some idea of his intellectual fertility is indicated by the fact that at one time he had thirty books contracted for with various publishers.
Gilbert's brother Cecil had become a Catholic shortly before going to war and Gilbert himself had been forming a Catholic mind slowly but steadily from about the same time. But he was not one to be hurried and fortunately even his closest friends, Maurice Baring and Ronald Knox (themselves converts), though he acknowledged their influence upon him, did not try to hurry him. Eventually it was Father O'Connor who received him into the Church in 1922. On the same day he wrote his celebrated poem "The Convert." By her own conscience his wife followed him into the fold four years later.
The time between the death of The New Witness in 1923 and the birth of G.K.'s Weekly in 1925 gave him sufficient leisure to write two of his most important books: St. Francis of Assisi (1923) and The Everlasting Man (1925) . But to the paper which enshrined his brother's memory though it now bore his own initials, Gilbert devoted much of his time as editor from 1925 to 1930. Most of those who knew him regarded it as a sacrifice. Besides Belloc and himself, a steady contributor was Eric Gill; out of friendship for Gilbert, Shaw and Wells contributed occasionally.
In 1926 the social and economic program of the paper feathered the Distributist League, of which Gilbert was elected president. He stated that ''Their simple idea was to restore possession." To restore property and prosperity to the people from whom it had been taken by big government and big business. Distributism was to be a practical alternative to Capitalism and Socialism. Branches were soon established throughout England and the circulation of its organ, G.K.'s Weekly, rose from 4,650 to 8,000 copies. The influence of the movement far exceeded its numbers; men like Father McNabb, O.P., in England (whom some hold fathered rather than was a disciple of the movement), Msgr. Ligutti in the United States, Dr. Coady and Dr. Tompkins in Canada, as well as others in Australia and New Zealand, acknowledged its influence upon their labors.
Despite the yearly loss by the paper and his constant charity to the needy, from panhandlers to causes, Gilbert helped to build the Church at Beaconsfield, until then a mission of High Wycomb parish. It became his memorial.
In 1926 were published The Outline of Sanity, The Catholic Church and Conversion, The Incredulity of Father Brown (as Gilbert said to Father Rice, "My publishers have demanded a fresh batch of corpses"), and The Queen of the Seven Swords; in 1926, his Collected Poems, The Return of Don Quixote (which first appeared serially in G.K.'s Weekly), Robert Louis Stevenson, The Secret of Father Brown, and a play, The Judgment of Dr. Johnson. Like his Magic, it was successful as literature, not as theatre. The Father Brown detective stories brought him charter membership in the Detection Club (1929) and soon afterwards its presidency.
He spent a month of 1927 in Poland, a nation whose true place in Europe he held high. Two years later his visit to Rome resulted in The Resurrection of Rome (1930). His more successful books of this period were his Catholic essays, The Thing (1929), and the two volumes of general essays, Come to Think of It (1930) and All Is Grist (1931), and his reflections flowing from the Eucharistic Congress which he and his wife attended in 1932, Christendom in Dublin, his studies of Chaucer and of St. Thomas Aquinas. Of this last, Etienne Gilson, a foremost Thomistic scholar, said: "I consider it as being without possible comparison the best book ever written on St. Thomas. And P'ere Gillet, O.P., MasterGeneral of the Dominican Order, lectured on and from it to large meetings of Dominicans.
From 1932 until his death he engaged increasingly in radio lectures, delivering as many as forty a year over the B.B.C. The B.B.C. is a state monopoly (as such, Gilbert attacked it: "It is wicked to nationalize mines and railroads; but we lose no time in nationalizing tongues and talk''), and he had to submit a manuscript for each lecture; but, for the sake of spontaneity, he was not held to the letter of it. These talks were so well received that a B.B.C. official remarked after his death that "G.K.C. in another year or so would have become the dominating voice from Broadcasting House." Too, they reached untold thousands who had never read his writings.
While in Rome, Gilbert interviewed Mussolini and had an audience with the Holy Father. In 1934 he was elected, honoris causa, to the Athenaeum Club. Both he and Belloc were invested as Papal Knight Commanders of the Order of St. Gregory with Star. At his death in 1936 the Holy See cabled Cardinal Hinsley: "Holy Father deeply grieved death Mr. Gilbert Keith Chesterton devoted son of Holy Church gifted Defender of the Catholic Faith. His Holiness offers paternal sympathy people of England, assures prayers dear departed, bestows Apostolic Benediction."
The panegyric was delivered in Westminster Cathedral by Msgr. Ronald Knox. His monument was designed by Eric Gill and burial was at Beaconsfield. His wife survived him by a little more than two years.
He had employed his great God-given gifts with humility and charity; indeed these two virtues characterized his life.
Books on him are numerous: first in time and also very important is G. K. Chesterton: a Criticism (1908), published anonymously but later learned to be by his brother Cecil; Belloc's brief but brilliant The Place of Chesterton in English Letters (1940); Father Brown on Chesterton (1937) by Msgr. John O'Connor; The Laughing Prophet (1937) by Emile Cammaerts is concerned more with the man than with the writer; Chesterton As Seen by His Contemporaries (1939), includes material by Gilbert himself, edited by Cyril Clemens; Gilbert's Autobiography (published posthumously in 1936), in which, with characteristic humility, he seems bent upon writing about everyone but himself; and the definitive biography, G. K. Chesterton (1943) by his long-time friend, Maisie Ward (Mrs. Frank J. Sheed).
London, Warwick Gardens, W14 postcode
Taken from www.catholicauthors.com/chesterton.html
The paternal great-grandfather, grandfather and father of G. K. Chesterton were engaged in the business of selling houses (estate agents as they are called in England). His father, Edward, married Marie Grosjean, whose family had long been English, but had originally come from French Switzerland. They had three children, Gilbert, born on May 29, 1874, Cecil, five years his junior, and Beatrice, who died in childhood.
Gilbert's father distinguished between living and making a living: a successful businessman, he had a dozen hobbies, not the least of them the making of a toy-theatre, and he was widely read, especially in English literature.
A happy childhood in a happy home laid the foundation for Gilbert's sane and sensible outlook on life. As a little boy he read fairy tales; as a big boy he wrote and illustrated them, some of which are preserved in his book The Coloured Lands. Gilbert first attended Colet Court School, entering St. Paul's as a day student when he was twelve. The reports on him for his six years there (1887-92) were that he was a good boy but an indifferent student, a dreamer, interested chiefly in drawing and English literature. In his "dramatic journal,"kept irregularly from his sixteenth year, he dramatized scenes from Scott and burlesqued portions of Shakespeare. He later acknowledged the strong influence on his youthful formation made by the Junior Debating Club, of which he was chairman. It met weekly at the home of one of its dozen teenage members and, following tea, one of them read a paper which was then debated. In the issues of its organ, The Debater, his first prose and verse were printed; his essays on Milton, Pope, Gray, Cowper, Burns, and Wordsworth being noteworthy. In his last year at St. Paul's (1892), he entered a competition for a prize poem (on St. Francis Xavier), and won it. From 1892 to 1895 he studied art at the Slade School and during part of the time he attended lectures on English literature at University College. A fellow-student whose family controlled the publishing firm of Hodder & Stoughton gave him some art books to review in the firm's monthly, The Boohman. And upon leaving Slade, he entered the office of a publisher of spiritualistic literature and later the office of the general publisher, Fisher Unwin. There he began to write Greybeards at Play as well as to revise, edit and counsel the works of others.
At St. Paul's Gilbert formed lifelong friendships with the future writer Edmund C. Bentley and with Lucian Oldershaw. In 1896 Lucian was courting Ethel Blogg (anglicized from Blogue) and took Gilbert with him to call. At first sight he fell in love with her sister Frances and, after a courtship extended by his then meager earnings, they were married in 1901. It was Lucian who, in 1900, also introduced the twenty-six-year old Gilbert to the thirty-year-old Belloc. Their reciprocal influence was lifelong as was their friendship.
In 1899 Gilbert began writing for The Speaker, a Liberal weekly. His first book, a volume of comic verse which he also illustrated, Greybeards at Play, was successfully published in 1900; later that year, his father financed publication of his second book, The Wild Knight and Other Poems. But it was his brilliant though unpopular pro-Boer stand on the Boer War which first brought him to public attention, and by 1901 he also was writing regularly for The Daily News. His third book, The Defendant (1901), comprised some of his essays from The Speaker, and is suffused with paradoxes, a literary form which has since been associated with his name. ("I did not acquit Chesterton of paradox," wrote his great admirer Msgr. Knox, "but, after all, what was a paradox but a statement of the obvious so as to make it sound untrue?")
He prided himself on being a journalist, and much of his work was first published in the popular journals of the day, many of his books being collected and edited from these essays, and much more of it has never been collected at all.
He was a tall man-six-foot two, and a stout one- nearly three hundred pounds; he dressed unconventionally in a wide-brimmed slouch hat and a flowing cloak; and carried a walking stick; he had a leonine head and a rather straggly blonde mustache. By the time he was only thirty-two he had become famous, instantly recognized in public and in caricature. True, some of his most popular works had been published by then: G. F Watts (1902), Twelve Types (1902), Robert Browning (in the English Men of Letters series, 1903), The Napoleon of Notting Nill, which he called his first important book (1904), The Club of Queer Trades (1905), Heretics (1905), and Charles Dickens (1906). And in social intercourse he was already one with such personalities of the day as Joseph Conrad, Henry James, Laurence Binyon, James M. Barrie, Max Beerbohm, Swinburne, George Meredith, Yeats, and Granville Barker.
In 1904, Sir Oliver Lodge invited him to become a candidate for the Chair of Literature at Birmingham University, but he declined. The invitation was doubtless extended on the strength of his books on Browning and on Dickens. The success of the latter was such that he was requested to write a series of prefaces to all of Dickens' novels.
At the time of his marriage he believed in the basic Christian religious truths but in no particular religion. His wife was a convinced Anglo-Catholic, and she was particularly pleased when in 1905 he accepted an invitation to be the first of a series of lay preachers in St. Paul's Church, Covent Garden.
From this time on there was an almost constant stream of lecture engagements far and wide and to almost every type of organization,-religious, literary, social, and even political. He was famous, he was wanted, and he couldn't say no. His wife became his secretary recording times, places, subjects, and arranging itineraries. He became so pressed for time that he had to write at odd moments and to do his newspaper essays at deadline. This constant pressure extended from 1904 to 1908. He was notoriously absent-minded. Typical was the telegram he sent his wife when he was en route to give a lecture: "Am in Market Harborough. Where ought I to be?~' He hated physical exertion as much as he reveled in mental activity.
Another phantasy, The Man Who Was Thursday (1907) was followed by Orthodoxy (1908). When Gilbert had attacked the philosophy of G. S. Street, he retorted that he would worry about it when G.K. would clarify his own. The tesult was Orthodoxy, a series of positive arguments for Christianity. Etienne Gilson considered it ''The best piece of apologetic the century has produced." Incidentally, Gilbert sold the manuscript outright for about $400.00. The meager returns on his numerous and popular writings moved him at this time to employ a literary agent; with gratifying results.
He began a weekly column, "Our Notebook,'' in The Illustrated London News in 1905 and continued it until his death thirty-one years later.
In 1909 he and his wife moved from Battersea, London, to the suburban town of Beaconsfield, which was to be their home for the rest of their lives. Their desire for children was never to be fulfilled; later they adopted Dorothy Collins who had become Gilbert's secretary in 1926. At Overroads, their Beaconsfield home, he was removed from the bustle and bars of Fleet Street and had more leisure for his friends: Max Beerbohm, Jack Phillmore, Msgr. O'Connor, Maurice Baring, Belloc, George Wyndham, Msgr. Knox, and a host of others. But his social life did not deter the stream of his books, as witness The Ball and the Cross, What's Wrong With the World (changed by his publishers from What's Wrong? and in which he formulated his sociology), Alarms and Discursions, and Blake (all published in 1910), Criticisms and Appreciations of Dickens, The Innocence of Father Brown, and, what many deem his greatest writing, The Ballad of the White Horse (all published in 1911). Too, his interest in politics, which he had had from boyhood, became more active: he began by fighting the sale of peerages as a means of secretly raising party funds, and continued blasting every other form of political corruption. Of necessity this interest included social reform, public education, a free press, etc. He resigned from the Liberal owned Daily News (a property of Cadbury of Cadbury's Cocoa) to write for the Daily Herald. He doubtless resigned just before being asked to, for his recent statements regarding the Liberal party leaders included: "Some of them are very nice oldgentlemen, some of them are very nasty old gentlemen, and some of them are old without being gentlemen at all." And again, "The best of His Majesty's Ministers are agnostics, and the worst are devil worshippers." This hit hard because at least nominally Church of England men (some ecclesiastics) were the predominant rulers of the realm.
Reacting against what they believed wrong with the English social-economic condition, Gilbert, his brother Cecil, and Belloc formulated their own program: Distributism. One of their principal points of controversy was over private ownership, chiefly ownership of the land which was tragically curtailed by the law of enclosure by which some five million acres ceased in effect to be the common property of the poor and became the private property of the rich. In books and articles they carried on their fight for the liberty of Englishmen against increasing enslavement to a plutocracy, and to expose and combat corruption in public life. As their audience increased and took form, they decided upon publishing their own paper. It was called The Eye Witness, from 1911-12, The New Witness, from 1912-23, G.K.'s Weekly, from 1925-36, and The Weekly Review, since 1936. It was edited at various times by each of the three. In the Marconi case, they contended that Godfrey Isaacs had used Rulus Isaacs to purchase ministerial favor. The court verdict in this complicated litigation was a gentle rebuke to the Isaacs and a small fine for editor Cecil. So small in view of the serious charges made that the Chesterbelloc considered it a moral victory. But the government then showed its contempt for integrity by appointing Godfrey Isaacs as the Viceroy of India and giving Rufus the title of Lord Reading.
Gilbert's books in this period included Manalive (1911), A Miscellany of Men, essays (1912), The Victorian Age in Literature (1913), The Wisdom of Father Brown (1914), and The Flying Inn (1914). His poetic play, Magic, was produced in England in October 1913, and in Germany soon afterward. And following a conversation with Msgr. O'Connor on the subject, he wrote his best known single poem, "The Ballad of Lepanto" (19 12).
In September 1916, Cecil enlisted as a private in the army and died in France on December 6, 1918. Upon his enlistment, Gilbert succeeded him as editor of The New Witness.
Gilbert went on a lecture tour to Palestine (which became a determining factor in his conversion) in 1919, to Italy in 1920, and to the United States in 1921-22 and again in 1930-31. From these travels came The New Jerusalem (1920), What I Saw in America (1922) and Sidelights on New London and Newer York (1932). His American tour included a series of thirty-six lectures on Victorian literature and history at the University of Notre Dame (his poem "The Arena" commemorates his visit), as well as talks delivered at San Francisco, Omaha, Oklahoma City, Nashville, New York, Chicago, Detroit, Philadelphia, Boston, and other cities.
The same period witnessed the publication of his Irish Impressions (1919), The Uses of Diversity (1920), The Superstition of Divorce (1920), Eugenics and Other Evils (1922), The Man Who Knew Too Much (1922), and Fancies Versus Fads (1923). Some idea of his intellectual fertility is indicated by the fact that at one time he had thirty books contracted for with various publishers.
Gilbert's brother Cecil had become a Catholic shortly before going to war and Gilbert himself had been forming a Catholic mind slowly but steadily from about the same time. But he was not one to be hurried and fortunately even his closest friends, Maurice Baring and Ronald Knox (themselves converts), though he acknowledged their influence upon him, did not try to hurry him. Eventually it was Father O'Connor who received him into the Church in 1922. On the same day he wrote his celebrated poem "The Convert." By her own conscience his wife followed him into the fold four years later.
The time between the death of The New Witness in 1923 and the birth of G.K.'s Weekly in 1925 gave him sufficient leisure to write two of his most important books: St. Francis of Assisi (1923) and The Everlasting Man (1925) . But to the paper which enshrined his brother's memory though it now bore his own initials, Gilbert devoted much of his time as editor from 1925 to 1930. Most of those who knew him regarded it as a sacrifice. Besides Belloc and himself, a steady contributor was Eric Gill; out of friendship for Gilbert, Shaw and Wells contributed occasionally.
In 1926 the social and economic program of the paper feathered the Distributist League, of which Gilbert was elected president. He stated that ''Their simple idea was to restore possession." To restore property and prosperity to the people from whom it had been taken by big government and big business. Distributism was to be a practical alternative to Capitalism and Socialism. Branches were soon established throughout England and the circulation of its organ, G.K.'s Weekly, rose from 4,650 to 8,000 copies. The influence of the movement far exceeded its numbers; men like Father McNabb, O.P., in England (whom some hold fathered rather than was a disciple of the movement), Msgr. Ligutti in the United States, Dr. Coady and Dr. Tompkins in Canada, as well as others in Australia and New Zealand, acknowledged its influence upon their labors.
Despite the yearly loss by the paper and his constant charity to the needy, from panhandlers to causes, Gilbert helped to build the Church at Beaconsfield, until then a mission of High Wycomb parish. It became his memorial.
In 1926 were published The Outline of Sanity, The Catholic Church and Conversion, The Incredulity of Father Brown (as Gilbert said to Father Rice, "My publishers have demanded a fresh batch of corpses"), and The Queen of the Seven Swords; in 1926, his Collected Poems, The Return of Don Quixote (which first appeared serially in G.K.'s Weekly), Robert Louis Stevenson, The Secret of Father Brown, and a play, The Judgment of Dr. Johnson. Like his Magic, it was successful as literature, not as theatre. The Father Brown detective stories brought him charter membership in the Detection Club (1929) and soon afterwards its presidency.
He spent a month of 1927 in Poland, a nation whose true place in Europe he held high. Two years later his visit to Rome resulted in The Resurrection of Rome (1930). His more successful books of this period were his Catholic essays, The Thing (1929), and the two volumes of general essays, Come to Think of It (1930) and All Is Grist (1931), and his reflections flowing from the Eucharistic Congress which he and his wife attended in 1932, Christendom in Dublin, his studies of Chaucer and of St. Thomas Aquinas. Of this last, Etienne Gilson, a foremost Thomistic scholar, said: "I consider it as being without possible comparison the best book ever written on St. Thomas. And P'ere Gillet, O.P., MasterGeneral of the Dominican Order, lectured on and from it to large meetings of Dominicans.
From 1932 until his death he engaged increasingly in radio lectures, delivering as many as forty a year over the B.B.C. The B.B.C. is a state monopoly (as such, Gilbert attacked it: "It is wicked to nationalize mines and railroads; but we lose no time in nationalizing tongues and talk''), and he had to submit a manuscript for each lecture; but, for the sake of spontaneity, he was not held to the letter of it. These talks were so well received that a B.B.C. official remarked after his death that "G.K.C. in another year or so would have become the dominating voice from Broadcasting House." Too, they reached untold thousands who had never read his writings.
While in Rome, Gilbert interviewed Mussolini and had an audience with the Holy Father. In 1934 he was elected, honoris causa, to the Athenaeum Club. Both he and Belloc were invested as Papal Knight Commanders of the Order of St. Gregory with Star. At his death in 1936 the Holy See cabled Cardinal Hinsley: "Holy Father deeply grieved death Mr. Gilbert Keith Chesterton devoted son of Holy Church gifted Defender of the Catholic Faith. His Holiness offers paternal sympathy people of England, assures prayers dear departed, bestows Apostolic Benediction."
The panegyric was delivered in Westminster Cathedral by Msgr. Ronald Knox. His monument was designed by Eric Gill and burial was at Beaconsfield. His wife survived him by a little more than two years.
He had employed his great God-given gifts with humility and charity; indeed these two virtues characterized his life.
Books on him are numerous: first in time and also very important is G. K. Chesterton: a Criticism (1908), published anonymously but later learned to be by his brother Cecil; Belloc's brief but brilliant The Place of Chesterton in English Letters (1940); Father Brown on Chesterton (1937) by Msgr. John O'Connor; The Laughing Prophet (1937) by Emile Cammaerts is concerned more with the man than with the writer; Chesterton As Seen by His Contemporaries (1939), includes material by Gilbert himself, edited by Cyril Clemens; Gilbert's Autobiography (published posthumously in 1936), in which, with characteristic humility, he seems bent upon writing about everyone but himself; and the definitive biography, G. K. Chesterton (1943) by his long-time friend, Maisie Ward (Mrs. Frank J. Sheed).
My camera and my life long love of people have led me to make the acquaintance of some really fascinating individuals.
If you ask any street photographer, they will tell you that the pictures they most remember are the ones they didn't take...
the photograph that they 'saw' but 'missed.'
The one that got away.
That's how I met a man named George Anastaplo.
I saw him walking down the street while I was on the way to a very special dinner that I was already late in getting to.
As I passed him up on the sidewalk there I resisted with everything that I had the urge to stop and photograph him.
I wanted to impress the woman that I was with with the fact that indeed I possessed a modicum of self control and that I didn't have to 'pop' every interesting looking person that I encountered in life.
After we arrived at the dinner I thought about the man that had just looked so fascinating to me out there on the street.
The man whose picture I didn't take.
The shot I missed.
Then fate did a funny thing just then.
That man sat down at the table right next to me.
Fate has given me so many second chances to capture 'his soul' in a photograph.
I swore to myself that day that one day I'd get 'the shot that I missed.'
The 'soul portrait.'
Fate is a funny thing indeed.
And she has always been good to me.
I am going to get that photograph.
Someone sent me a link to this article today... I've cut and pasted the entire thing and a link to the original article... It's not my work and if doing that isn't cool somebody let me know...
"One door closes"
An article written by Richard Mertens in 'The University of Chicago Magazine.'
You can find the original article here: mag.uchicago.edu/law-policy-society/one-door-closes
“Are you a member of the Communist Party?” George Anastaplo, AB’48, JD’51, PhD’64, refused to answer that question, a refusal that shaped his life.
Justice Hugo Black once called George Anastaplo, AB’48, JD’51, PhD’64, “too stubborn for his own good.” Sixty-some years later, Anastaplo sits in a basement room in the Gleacher Center, in downtown Chicago, surrounded by a dozen adult-education students, the picture of cheerful amiability. At 86 years old, Anastaplo has taught in the University of Chicago’s Basic Program of Liberal Education for Adults for 55 years. A small man with white hair and clear gray eyes, wearing running shoes and an old tweed jacket, Anastaplo is lively and relaxed. A photocopy of Emerson’s essay “Friendship” lies on the table in front of him.
“I was appalled by how elitist Emerson was in his view of friendship,” says one student, a middle-aged woman.
Anastaplo’s eyes light up. He leans forward, and a smile tugs at the corners of his mouth. “You were appalled?” he says. She reads from a passage in which Emerson writes, “‘I do then with my friends as I do with my books. I would have them where I can find them, but I seldom use them.’ Give me a break!” she exclaims, rolling her eyes. Delighted, Anastaplo swivels his head around the room. “Any reactions?”
This was not the life Anastaplo envisioned. On the morning of November 10, 1950, three days after his 25th birthday, he put on a coat and tie and headed downtown to the offices of the Chicago Bar Association, on LaSalle Street, for what he assumed would be the last step to launching a legal career in Illinois. The son of Greek immigrants from downstate Carterville, Anastaplo was a World War II veteran—he had navigated B-17 and B-29 bombers—and a top student at the University of Chicago Law School.
He had already passed the bar exam. He had begun talking to firms in the city. All that remained was a routine interview with two members of the Illinois Bar Association’s Committee on Character and Fitness. Anastaplo expected 15 minutes of pleasantries. Other applicants were waiting outside.
But the interview took an unexpected turn. After a few harmless questions, one of the lawyers asked Anastaplo if a member of the Communist Party should be eligible to practice law in Illinois. Anastaplo was surprised. “I should think so,” he said. But didn’t Communists believe in overthrowing the government? the lawyer asked. In the long colloquy that followed, Anastaplo, invoking George Washington and American political tradition, insisted that the right to revolt was “one of the most fundamental rights any people have.” The committee members were unconvinced. Finally the second one asked, “Are you a member of the Communist Party?”
Although this question was much in the air in the 1950s—earlier that year in West Virginia, Senator Joe McCarthy had brandished a list of Communists he claimed had infiltrated the State Department—no one seriously thought that Anastaplo was a Communist. Nor did anyone doubt his intellect, character, or patriotism. “If the mothers in Carterville have their way, all their boys will be like George,” Fred K. Lingle, one of his high-school teachers, had told the committee in a written statement. And yet Anastaplo had determined that, as a matter of principle, the committee had no right to ask about his political beliefs or affiliations. “I think it is an illegitimate question,” he replied.
Thus began a decade-long confrontation pitting an unknown but determined young Army reservist and Law School graduate against the Illinois Bar Association and the climate of fear and suspicion that then pervaded public life in the United States. Anastaplo never did become a lawyer. But the case made him famous as an example of resistance to communist witch-hunting and launched him on a long and prolific career as a scholar, law professor, and teacher of great books, a good-natured contrarian, gadfly, and independent thinker.
In the months and years that followed his first interview with the Committee on Character and Fitness, Anastaplo had many chances to change his mind and answer the question. He had plenty of encouragement to do so, including a warning from his Law School dean, Edward H. Levi, U-High’28, PhB’32, JD’35, that he was making a big mistake. But he refused—and kept on refusing. He declined, as one writer put it, “to follow the line of least resistance.” For its part, the Illinois Bar was no less intractable: it simply refused to admit him. Anastaplo sued. The two sides fought back and forth through ten years of hearings and rehearings, rulings and appeals, until the case landed before the Supreme Court in 1960.
By then Anastaplo had spent a decade practicing law, all on his own behalf. He made the oral argument himself. On April 24, 1961, the court ruled against him, upholding the Illinois Bar five to four. In a lengthy petition for rehearing that he had little hope would succeed, Anastaplo wrote, “It is highly probable that upon disposition of this Petition for Rehearing, petitioner will have practiced all the law he is ever going to.”
With that valedictory flourish, Anastaplo moved on. But although he had lost, neither he nor the case was forgotten, thanks primarily to Justice Black, whose dissent raised Anastaplo to something more than a legal footnote. Black had not taken Anastaplo seriously at first. Of his lawsuit, Black had confided to Chief Justice William Brennan, “This whole thing is a little silly on his part.” But recent cases had left Black worried about the fate of the First Amendment and of what he later called “that great heritage of freedom.” In Anastaplo he found freedom’s champion. “The very most that can fairly be said against Anastaplo’s position in this entire matter is that he took too much of the responsibility of preserving [this country’s] freedom upon himself,” Black wrote. He compared Anastaplo to great lawyers like Clarence Darrow and then, taking measure of the nation’s ills, decried “the present trend, not only in the legal profession but in almost every walk of life” in which “too many men are being driven to become government-fearing and time-serving because the Government is being permitted to strike out at those who are fearless enough to think as they please and say what they think.” He concluded with an exhortation that still resonates: “We must not be afraid to be free.” Black liked this dissent so much that he had parts of it read at his funeral in 1971. When Brennan, who voted with Black, read it, he told him, “You’ve immortalized Anastaplo.”
Anastaplo has been called many things, some worse than stubborn. Sidney Hook, the leftist New York intellectual turned anticommunist crusader, described him as “a very much confused young man—both philosophically and politically—with a large bump of self righteousness.” On the other hand, Leon Despres, PhB’27, JD’29, a Hyde Park alderman and one of Anastaplo’s most fervent admirers, dubbed him the “Socrates of Chicago.”
But Studs Terkel, PhB’32, JD’34, who interviewed Anastaplo twice on Chicago’s WFMT, may have hit closest to the truth when he described him simply as “one of those rare individuals who belongs to himself.” Anastaplo remains an unconventional figure, a lecturer in the Graham School’s Basic Program, a law professor at Loyola University of Chicago since 1981, and a writer of unusual range and productivity, with articles and books on subjects as diverse as the US Constitution, the Bhagavad Gita, and the lights at Wrigley Field. Shut out of the law, Anastaplo poured his energies into new channels, where, his friends say, he has proven himself as much his own man as he was before the Committee on Character and Fitness.
“To use a cliché, George really marches to his own drummer,” says Stanley Katz, an old friend and a professor at Princeton’s Woodrow Wilson School of Public and International Affairs. “I don’t know anybody of whom that is truer.”
Anastaplo inspires strong feelings. To a dwindling number of old friends and admirers—he has outlived not only his antagonists but also most of his old supporters—he is a heroic figure who stood up for liberty and decency at a dark moment in American history. At its 40th reunion, his Law School class gave him a bronze plaque that read “In admiration of a life devoted to high principle.” He has been nominated for a Nobel Peace Prize.
Later generations know Anastaplo mainly as a gifted teacher and writer who delights in expressing unpopular or idiosyncratic positions. His first book, a close reading of the First Amendment, holds that the amendment does not apply to the states, in contrast to the views of almost every other constitutional scholar. Once, at a ceremony honoring him for his defense of civil liberties, Anastaplo surprised the audience by arguing for the abolition of television. On a talk show, he defended Richard Nixon against Gore Vidal, asserting that Nixon’s Watergate transgressions were minor compared to the actions of some other presidents, such as Harry Truman.
“He has always behaved as some kind of gadfly,” Laurence Berns, AB’50, PhD’57, an old friend, said in a 1986 Chicago magazine article written by Andrew Patner, X’81. “When the conventional opinion goes overboard in one direction, he tends to move in the other.”
But Anastaplo is more than a gadfly. He is an intellectual omnivore, a generalist who respects few intellectual boundaries. In lectures, essays, and op-ed pieces, he often returns to favorite subjects, including the Constitution, the Greek classics, Shakespeare, and Lincoln. He comments frequently on contemporary issues involving questions of rights and liberties. Recently, for instance, he criticized the use of drones against terror suspects.
In fact Anastaplo writes about whatever interests him. He has published about 20 books, a dozen book-length law-review articles, and hundreds of essays. Many of his books treat aspects of the Constitution (including one on Lincoln and the Constitution), but they also explore literature (The Artist as Thinker: From Shakespeare to Joyce, Swallow Press, 1982), non-Western ideas (But Not Philosophy: Seven Introductions to Non-Western Thought, Lexington Books, 2002), religion (The Bible: Respectful Readings, Lexington Books, 2008), and other subjects far from his training in law and Western political philosophy. This variety is in part a consequence of teaching in the Basic Program, where, during a typical week last fall, he led discussions of Emerson, Plutarch, and Newton’s Principia, and where, he notes with a kind of pride, “I teach whatever other people don’t want to.”
It is also an expression of a lively curiosity and the freedom to follow it. Anastaplo frequently attends University lectures, panels, and colloquia—the Franke Institute for Wednesday lunch, a Physics colloquium on Thursdays—where, he laments, he is often the only layman in the room. As his friend Stanley Katz suggests, Anastaplo exemplifies an older intellectual ideal, one envisioned by Robert Hutchins’s university and Mortimer Adler’s Great Books of the Western World.
Friends have long marveled at his capacity for work. His eldest daughter, Helen Newlin, U-High’67, JD’75, CER’02, says that in winter he would rise and begin working as soon as the family’s modest wood frame house had cooled sufficiently to wake him. John Murley, a professor at the Rochester Institute of Technology in whose house Anastaplo stayed while a guest lecturer in the 1980s, remembers that his typewriter began clattering away at 5 a.m.
“I have always had the overwhelming feeling, when I’m with him, that I should get much more serious about my work,” says Murley.
In person Anastaplo is mild, courteous, and funny. He is a classicist at heart, with a deep faith in reason, moderation, and human goodness, and devoted to the search for enduring values. He is skeptical of modernity. He dislikes what he calls “value-free social sciences.” He is fascinated by the physical sciences but thinks their influence has been bad, chiding scientists for their “abandonment” of “common sense.” His 1961 petition to the Supreme Court included his own exhortation: “We must try to take seriously again the concern and conditions for virtue, nobility, and the life most fitting for man.”
“He’s a person who is profoundly conservative, with a small ‘c,’ ” says Katz. “He’s deeply committed to traditional values … that for him are more than intellectual. … The bar-admissions case was about that. This is simply a man for whom principle is everything.”
The bar case was not his only clash with authorities. In 1960 the Anastaplo family drove a Volkswagen microbus across Europe, one of many summer trips the family made. On a public square in Moscow, Anastaplo approached a group of British tourists handing out copies of an American magazine, attracting a crowd. He meant only to warn them they could get in trouble, but when the police showed up, he says, someone pointed him out, and he was arrested along with the others. The next day he was expelled. In 1968 Greece’s military rulers threw him out of the country for criticizing their regime. C. Hermann Pritchard later quipped, “Any man who is kicked out of Russia, Greece, and the Illinois Bar can’t be all bad.”
As a teacher, Anastaplo has a talent for inducing thoughtfulness, says Laurence Nee, a tutor at St. John’s College in Sante Fe and a former student of Anastaplo. Once, Nee recalls, Anastaplo gave a talk on Constitution Day at the University of Dallas, a conservative Catholic institution where he taught for many years, flying down regularly from Chicago. Flag burning was in the news, and Anastaplo began by handing out photocopies of a canceled stamp bearing the image of a flag—in effect, a mutilated flag.
“His first motion isn’t to argue for or against a position,” says Nee, then a graduate student in Dallas. “It’s, ‘Have we thought about this?’”
Students like his obvious love of learning. He often scribbles notes in class, and he tries to approach each work afresh, using a clean text whenever he can. “He has a kind of boyishness to him still,” Nee says. “I think that’s part of his appeal. He enjoys learning. You can see the pleasure he takes in it.”
Monday and Tuesday mornings this past fall, Anastaplo taught at the Gleacher Center, then walked briskly up Michigan Avenue, a canvas tote in each hand, to teach jurisprudence and constitutional law at Loyola. He uses public transportation (or his feet) whenever possible, and until a few years ago he biked to classes downtown, pedaling an old three-speed up the lakeshore path.
Anastaplo’s freewheeling and often philosophical approach to the law is a welcome contrast to the “nuts and bolts” fare of other courses, says Rebecca Blabolil, a recent Loyola graduate who took Anastaplo’s class last fall. “His classes are an opportunity to think and exercise a part of your brain that has been dormant for the three years you’ve been here,” Blabolil says. During one week, for example, he discussed the Emancipation Proclamation, a new Supreme Court ruling concerning images on cigarette packs, and Civil War songs, which he described as a neglected window into sectional differences.
Anastaplo’s Law School classmates remember him as brilliant and witty, although quiet, even solitary. He was clearly not a typical law student. “He had his own ideas about how to spend his time,” says Abner Mikva, JD’51, who went on to become a congressman, federal judge, and adviser to President Clinton. Instead of joining the Law Review, a sure path to advancement, Anastaplo audited other courses at the University. When Dean Levi decreed that students wear coats and ties to class, Anastaplo continued to show up in jeans. When a lecture bored him, he would pull out a newspaper and read.
Few of his classmates, then, were surprised when Anastaplo defied the Committee on Character and Fitness, says Alexander Polikoff, AB’48, AM’50, JD’53, who later helped write a friend-of-the-court brief for him. “He was strong willed and stubborn when it came to constitutional principles.”
At the hearings Anastaplo was polite but confident. Transcripts suggest he was more than an intellectual match for his questioners. But he seems to have misjudged them. He arrived as if armed for a graduate seminar, laden with books, citing Jefferson, Locke, and English parliamentary rules, expecting to engage in real debate. To the lawyers on the committee, however, his arguments seem to have been mostly beside the point. The anxieties over communism in America, fanned by far right, anti–New Deal Republicans, were real, if misguided, and the lawyers could not easily discount them. In Chicago schoolteachers had been forced to take loyalty oaths. An Illinois legislative committee had been investigating communist sympathies among the faculties of Illinois universities, including the University of Chicago. Anastaplo’s talk about revolution was alarming.
“I had a feeling that George was not a communist in any shape or form,” said the late Edmund A. Stephan, who presided over a rehearing of Anastaplo’s case in 1958, in the Chicago magazine article. “But at that time, ‘communist’ meant somebody who would overthrow the government. It wasn’t something to be trifled with.”
A bigger issue for the lawyers—and a decisive one for the Supreme Court—was whether Anastaplo could get away with refusing to answer questions. His manner, as much as his arguments, exasperated some committee members. One told Patner he was “a smart aleck.”
“The big mistake, if it was a mistake, was in assuming that other people in other institutions had sense and good will, and they didn’t,” concludes Lawrence Friedman, AB’48, JD’51, LLM’53, a former classmate and today a professor of law at Stanford University. “It was an age of intolerance and moral panic. He was asking for trouble, and he got it. You don’t argue with George—‘Why are you doing this?’ It won’t do any good. I think it was admirable. He stood up for his principle. And he took the consequences.”
At the Law School, sentiment ran heavily against him. Students seem to have respected his principles but doubted the wisdom of his position.
“I think the majority felt that it was impractical,” says Ramsey Clark, AM’50, JD’51, a classmate and a former US attorney general. “It was kind of a quixotic gesture that might hurt the Law School a little bit. And I think some, and I shared this, felt some pain for what you might call a self-inflicted injury. But I admired him.”
A few Law School professors defended Anastaplo, but most did not. Several wrote a proposal, likely never adopted, to discourage other students from following his example. Levi, who went on to serve as University president and US attorney general, urged Anastaplo to reconsider.
“I thought Anastaplo’s position was ill-timed,” Levi told the New York Times in a 1975 profile published after he became attorney general. “I thought the big problem was the teacher-oath cases. I thought to raise the non-Communist oath issue with the Character and Fitness Committee was the wrong way to do it, and because of the timing of the thing he would lose and hurt himself, and he did. We were all trying to help him, whether he knows it or not.”
Indeed, Anastaplo felt betrayed. To this day he believes that if the Law School had stood up for him, the Illinois Bar would have backed down. For all his abilities, he says, Levi, then in his first year as dean, “was a timid man.” The faculty, too, “were fearful.” In his view, he was standing up to “hazing, harassment, whatever you want to call it.” His years as a flying officer in the Army Air Corps had helped to give him confidence. “I wasn’t going to be bullied.”
While the bar-admissions case was under way, Anastaplo worked at different jobs, including, briefly, driving a taxi. He also studied political philosophy in the Committee on Social Thought under Leo Strauss. He taught, first in the Basic Program and then, after earning his PhD, at Rosary College, the University of Dallas, and eventually, Loyola, often holding two or three positions at a time.
His relationship with the University has been complicated and a source of disappointment. With three degrees, Anastaplo is as much a creature of the institution as anybody. But he remains marginal. For a long time he hoped to secure a regular faculty position, and each time was rebuffed. In April 1975, after Levi had departed for Washington, Anastaplo loaded a shopping cart with manila envelopes and pushed it the mile from his house on Harper Avenue to the Faculty Exchange mail office. The envelopes contained samples of his writing, a bibliography listing some 300 publications, and a letter making “a quiet … appeal to the good sense of the University faculty.” They were addressed to acting president John T. Wilson, the provost, and the heads of schools, divisions, departments, and committees. He received a few replies but no offers. He never tried again.
Anastaplo did teach once at the Law School, in a not-for-credit course organized by Patner, then a law student. For many years he also met informally with graduate students in the University library. He recounts a separate occasion several decades ago when he was offered a course in the College and actually taught the first class—on the Declaration of Independence—only to have the offer withdrawn without explanation.
Anastaplo and his supporters say he was blacklisted because of the bar-admissions case and the opposition of his old dean, Edward Levi. He was too much of a troublemaker. Others offer different explanations. James Redfield, U-High’50, AB’54, PhD’61, a professor of classics and former master of the New Collegiate Division, recalls that he and Levi talked “more than once” about Anastaplo and that some professors recommended him. But Anastaplo lacked broad faculty support. The reason, Redfield suggests, was neither Levi nor the bar case but Anastaplo’s link to Leo Strauss. “There was generally a hostility toward Leo Strauss on the humanities faculty,” he says.
Katz believes that Anastaplo’s scholarship was simply too unconventional. “He has not respected any of the norms of academic discourse,” he says. “He’s turned that into a virtue, but he never would have gotten tenure at the University of Chicago like that.”
Still, Anastaplo has thrived in the academic hinterland, finding appreciative audiences at lesser known and often conservative institutions like the University of Dallas and publishing in obscure journals like the Oklahoma City University Law Review and the South Dakota Law Review. “The main thing is to write it the way I want it,” he says. “That’s what I’ve been able to do.”
Anastaplo has taken care that his writings do not languish in obscurity. “My model in self-advertisement is Don Quixote, who seems to have reckoned that if he (as an artist of knight-errantry) went to the trouble of doing useful things, others should benefit from learning about them,” he writes in an essay footnote. He collects many of his essays into books. In recent years friends have posted his writings on the Internet (at anastaplo.wordpress.com). And for most of his adult life Anastaplo has regularly sent packets of his writings to large numbers of friends and acquaintances. His children received packets when they were at college. So, in the last ten years of his life, did Hugo Black, who responded that he enjoyed them. “I have long thought and still believe that you have the capacity to make a highly useful citizen of this country,” he wrote in 1969.
Anastaplo’s work has attracted critical notice and often praise, but no large following. “George is prolific, original,” says Geoffrey Stone, JD’71, an expert on constitutional law and a Law School professor since 1973. “But in the world of legal scholars, he isn’t widely recognized.” An exasperated Dean Alfange Jr., now a professor emeritus at the University of Massachusetts, noted in a 1974 review that Anastaplo would not extend First Amendment protection to artistic or literary expression: “Professor Anastaplo states that he knows of no one who agrees with his position on the First Amendment. It is unlikely that he will have to change that assessment as the result of this book.” Another writer praised Anastaplo’s “fervent and selfless moral vision, rooted in the classics of Western thought,” and called him a “rare intellectual: thought and learning are not for him the meaning of life, inducing a withdrawal into books, ideas, and ideological posturings; they give meaning to life, enabling one to live it actively and as perfectly as possible.”
At 86, Anastaplo maintains a busy schedule of teaching and writing. “That’s how you stay alive,” he says. He is in the middle of a projected ten-volume series called Reflections, each volume a collection of essays, or “constitutional sonnets,” as he calls them, on various topics. In the third volume, for example, titled Reflections on Life, Death, and the Constitution (University Press of Kentucky, 2009), he takes up Pericles’s funeral oration, assisted suicide, obliteration bombing, and “The Unseemly Fearfulness of Our Time.” In the meantime he is trying to publish a collection of essays on the aftermath of 9/11, as well as a book-length series of interviews he conducted a decade ago with a Holocaust survivor. He would like to write a book about Roma people and about Sophocles’s Oedipus Tyrannus, a work he considers “the greatest of our plays.”
Despite his full life, Anastaplo remains aggrieved by the bar-admissions case. He finds it ironic when people tell him they admire what he did. Last year, on the 50th anniversary of the Supreme Court decision, he wrote, “If such people had expressed their admiration publicly in the 1950s, the Character Committee would probably have backed away from demands that were being made only of me.”
After anticommunist fervor cooled in the United States, friends and supporters tried several times to get Anastaplo finally admitted to the Illinois Bar. The Committee on Character and Fitness itself had a change of heart: in 1978 it voted 13 to 4 to certify him. But Anastaplo refused to reapply, and without his cooperation these efforts died. “George doesn’t want to let them off the hook,” says Katz.
Indeed, Anastaplo has done his part to keep the case alive. He has spoken about it occasionally and has chronicled it in immense detail, publishing not only most of the essential documents but also much correspondence and commentary about it afterward. “Frankly, I felt, and still do, that staying out on the terms I did was more instructive,” Anastaplo says. “I figured that, all in all, it was better to stay out.”
Was he too stubborn for his own good? Certainly Anastaplo sacrificed what might have been a lucrative law career. As a graduate of a leading law school, he might have found other opportunities open up to him as well. Many of his fellow students, including Mikva, Clark, Friedman, and Robert Bork, AB’48, JD’53, went on to distinguished careers in government and academia. From a practical point of view, says Clark, Anastaplo’s actions in 1950 were “catastrophic.”
But the practical point of view never was Anastaplo’s. In the end, he says, his case proved “liberating and even empowering.” It made him a symbol of principled resistance and set him on what he calls “my career as a naysayer.” More than that, losing the case gave him the freedom to “do what I want to do and publish what I want to.” Those who know him say they cannot imagine him doing anything differently.
“George is always at peace, as far as I can tell,” Clark says. “He was confident. The consequences, which he fully understood, were not a concern. He was determined to live a life of principle as far as he understood it. ... And that’s the type of life he’s lived.”
Richard Mertens 'The University of Chicago Magazine' March-April 2012
mag.uchicago.edu/law-policy-society/one-door-closes
.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
London, 32 Sheffield Terrace, W8 postcode
Taken from www.catholicauthors.com/chesterton.html
The paternal great-grandfather, grandfather and father of G. K. Chesterton were engaged in the business of selling houses (estate agents as they are called in England). His father, Edward, married Marie Grosjean, whose family had long been English, but had originally come from French Switzerland. They had three children, Gilbert, born on May 29, 1874, Cecil, five years his junior, and Beatrice, who died in childhood.
Gilbert's father distinguished between living and making a living: a successful businessman, he had a dozen hobbies, not the least of them the making of a toy-theatre, and he was widely read, especially in English literature.
A happy childhood in a happy home laid the foundation for Gilbert's sane and sensible outlook on life. As a little boy he read fairy tales; as a big boy he wrote and illustrated them, some of which are preserved in his book The Coloured Lands. Gilbert first attended Colet Court School, entering St. Paul's as a day student when he was twelve. The reports on him for his six years there (1887-92) were that he was a good boy but an indifferent student, a dreamer, interested chiefly in drawing and English literature. In his "dramatic journal,"kept irregularly from his sixteenth year, he dramatized scenes from Scott and burlesqued portions of Shakespeare. He later acknowledged the strong influence on his youthful formation made by the Junior Debating Club, of which he was chairman. It met weekly at the home of one of its dozen teenage members and, following tea, one of them read a paper which was then debated. In the issues of its organ, The Debater, his first prose and verse were printed; his essays on Milton, Pope, Gray, Cowper, Burns, and Wordsworth being noteworthy. In his last year at St. Paul's (1892), he entered a competition for a prize poem (on St. Francis Xavier), and won it. From 1892 to 1895 he studied art at the Slade School and during part of the time he attended lectures on English literature at University College. A fellow-student whose family controlled the publishing firm of Hodder & Stoughton gave him some art books to review in the firm's monthly, The Boohman. And upon leaving Slade, he entered the office of a publisher of spiritualistic literature and later the office of the general publisher, Fisher Unwin. There he began to write Greybeards at Play as well as to revise, edit and counsel the works of others.
At St. Paul's Gilbert formed lifelong friendships with the future writer Edmund C. Bentley and with Lucian Oldershaw. In 1896 Lucian was courting Ethel Blogg (anglicized from Blogue) and took Gilbert with him to call. At first sight he fell in love with her sister Frances and, after a courtship extended by his then meager earnings, they were married in 1901. It was Lucian who, in 1900, also introduced the twenty-six-year old Gilbert to the thirty-year-old Belloc. Their reciprocal influence was lifelong as was their friendship.
In 1899 Gilbert began writing for The Speaker, a Liberal weekly. His first book, a volume of comic verse which he also illustrated, Greybeards at Play, was successfully published in 1900; later that year, his father financed publication of his second book, The Wild Knight and Other Poems. But it was his brilliant though unpopular pro-Boer stand on the Boer War which first brought him to public attention, and by 1901 he also was writing regularly for The Daily News. His third book, The Defendant (1901), comprised some of his essays from The Speaker, and is suffused with paradoxes, a literary form which has since been associated with his name. ("I did not acquit Chesterton of paradox," wrote his great admirer Msgr. Knox, "but, after all, what was a paradox but a statement of the obvious so as to make it sound untrue?")
He prided himself on being a journalist, and much of his work was first published in the popular journals of the day, many of his books being collected and edited from these essays, and much more of it has never been collected at all.
He was a tall man-six-foot two, and a stout one- nearly three hundred pounds; he dressed unconventionally in a wide-brimmed slouch hat and a flowing cloak; and carried a walking stick; he had a leonine head and a rather straggly blonde mustache. By the time he was only thirty-two he had become famous, instantly recognized in public and in caricature. True, some of his most popular works had been published by then: G. F Watts (1902), Twelve Types (1902), Robert Browning (in the English Men of Letters series, 1903), The Napoleon of Notting Nill, which he called his first important book (1904), The Club of Queer Trades (1905), Heretics (1905), and Charles Dickens (1906). And in social intercourse he was already one with such personalities of the day as Joseph Conrad, Henry James, Laurence Binyon, James M. Barrie, Max Beerbohm, Swinburne, George Meredith, Yeats, and Granville Barker.
In 1904, Sir Oliver Lodge invited him to become a candidate for the Chair of Literature at Birmingham University, but he declined. The invitation was doubtless extended on the strength of his books on Browning and on Dickens. The success of the latter was such that he was requested to write a series of prefaces to all of Dickens' novels.
At the time of his marriage he believed in the basic Christian religious truths but in no particular religion. His wife was a convinced Anglo-Catholic, and she was particularly pleased when in 1905 he accepted an invitation to be the first of a series of lay preachers in St. Paul's Church, Covent Garden.
From this time on there was an almost constant stream of lecture engagements far and wide and to almost every type of organization,-religious, literary, social, and even political. He was famous, he was wanted, and he couldn't say no. His wife became his secretary recording times, places, subjects, and arranging itineraries. He became so pressed for time that he had to write at odd moments and to do his newspaper essays at deadline. This constant pressure extended from 1904 to 1908. He was notoriously absent-minded. Typical was the telegram he sent his wife when he was en route to give a lecture: "Am in Market Harborough. Where ought I to be?~' He hated physical exertion as much as he reveled in mental activity.
Another phantasy, The Man Who Was Thursday (1907) was followed by Orthodoxy (1908). When Gilbert had attacked the philosophy of G. S. Street, he retorted that he would worry about it when G.K. would clarify his own. The tesult was Orthodoxy, a series of positive arguments for Christianity. Etienne Gilson considered it ''The best piece of apologetic the century has produced." Incidentally, Gilbert sold the manuscript outright for about $400.00. The meager returns on his numerous and popular writings moved him at this time to employ a literary agent; with gratifying results.
He began a weekly column, "Our Notebook,'' in The Illustrated London News in 1905 and continued it until his death thirty-one years later.
In 1909 he and his wife moved from Battersea, London, to the suburban town of Beaconsfield, which was to be their home for the rest of their lives. Their desire for children was never to be fulfilled; later they adopted Dorothy Collins who had become Gilbert's secretary in 1926. At Overroads, their Beaconsfield home, he was removed from the bustle and bars of Fleet Street and had more leisure for his friends: Max Beerbohm, Jack Phillmore, Msgr. O'Connor, Maurice Baring, Belloc, George Wyndham, Msgr. Knox, and a host of others. But his social life did not deter the stream of his books, as witness The Ball and the Cross, What's Wrong With the World (changed by his publishers from What's Wrong? and in which he formulated his sociology), Alarms and Discursions, and Blake (all published in 1910), Criticisms and Appreciations of Dickens, The Innocence of Father Brown, and, what many deem his greatest writing, The Ballad of the White Horse (all published in 1911). Too, his interest in politics, which he had had from boyhood, became more active: he began by fighting the sale of peerages as a means of secretly raising party funds, and continued blasting every other form of political corruption. Of necessity this interest included social reform, public education, a free press, etc. He resigned from the Liberal owned Daily News (a property of Cadbury of Cadbury's Cocoa) to write for the Daily Herald. He doubtless resigned just before being asked to, for his recent statements regarding the Liberal party leaders included: "Some of them are very nice oldgentlemen, some of them are very nasty old gentlemen, and some of them are old without being gentlemen at all." And again, "The best of His Majesty's Ministers are agnostics, and the worst are devil worshippers." This hit hard because at least nominally Church of England men (some ecclesiastics) were the predominant rulers of the realm.
Reacting against what they believed wrong with the English social-economic condition, Gilbert, his brother Cecil, and Belloc formulated their own program: Distributism. One of their principal points of controversy was over private ownership, chiefly ownership of the land which was tragically curtailed by the law of enclosure by which some five million acres ceased in effect to be the common property of the poor and became the private property of the rich. In books and articles they carried on their fight for the liberty of Englishmen against increasing enslavement to a plutocracy, and to expose and combat corruption in public life. As their audience increased and took form, they decided upon publishing their own paper. It was called The Eye Witness, from 1911-12, The New Witness, from 1912-23, G.K.'s Weekly, from 1925-36, and The Weekly Review, since 1936. It was edited at various times by each of the three. In the Marconi case, they contended that Godfrey Isaacs had used Rulus Isaacs to purchase ministerial favor. The court verdict in this complicated litigation was a gentle rebuke to the Isaacs and a small fine for editor Cecil. So small in view of the serious charges made that the Chesterbelloc considered it a moral victory. But the government then showed its contempt for integrity by appointing Godfrey Isaacs as the Viceroy of India and giving Rufus the title of Lord Reading.
Gilbert's books in this period included Manalive (1911), A Miscellany of Men, essays (1912), The Victorian Age in Literature (1913), The Wisdom of Father Brown (1914), and The Flying Inn (1914). His poetic play, Magic, was produced in England in October 1913, and in Germany soon afterward. And following a conversation with Msgr. O'Connor on the subject, he wrote his best known single poem, "The Ballad of Lepanto" (19 12).
In September 1916, Cecil enlisted as a private in the army and died in France on December 6, 1918. Upon his enlistment, Gilbert succeeded him as editor of The New Witness.
Gilbert went on a lecture tour to Palestine (which became a determining factor in his conversion) in 1919, to Italy in 1920, and to the United States in 1921-22 and again in 1930-31. From these travels came The New Jerusalem (1920), What I Saw in America (1922) and Sidelights on New London and Newer York (1932). His American tour included a series of thirty-six lectures on Victorian literature and history at the University of Notre Dame (his poem "The Arena" commemorates his visit), as well as talks delivered at San Francisco, Omaha, Oklahoma City, Nashville, New York, Chicago, Detroit, Philadelphia, Boston, and other cities.
The same period witnessed the publication of his Irish Impressions (1919), The Uses of Diversity (1920), The Superstition of Divorce (1920), Eugenics and Other Evils (1922), The Man Who Knew Too Much (1922), and Fancies Versus Fads (1923). Some idea of his intellectual fertility is indicated by the fact that at one time he had thirty books contracted for with various publishers.
Gilbert's brother Cecil had become a Catholic shortly before going to war and Gilbert himself had been forming a Catholic mind slowly but steadily from about the same time. But he was not one to be hurried and fortunately even his closest friends, Maurice Baring and Ronald Knox (themselves converts), though he acknowledged their influence upon him, did not try to hurry him. Eventually it was Father O'Connor who received him into the Church in 1922. On the same day he wrote his celebrated poem "The Convert." By her own conscience his wife followed him into the fold four years later.
The time between the death of The New Witness in 1923 and the birth of G.K.'s Weekly in 1925 gave him sufficient leisure to write two of his most important books: St. Francis of Assisi (1923) and The Everlasting Man (1925) . But to the paper which enshrined his brother's memory though it now bore his own initials, Gilbert devoted much of his time as editor from 1925 to 1930. Most of those who knew him regarded it as a sacrifice. Besides Belloc and himself, a steady contributor was Eric Gill; out of friendship for Gilbert, Shaw and Wells contributed occasionally.
In 1926 the social and economic program of the paper feathered the Distributist League, of which Gilbert was elected president. He stated that ''Their simple idea was to restore possession." To restore property and prosperity to the people from whom it had been taken by big government and big business. Distributism was to be a practical alternative to Capitalism and Socialism. Branches were soon established throughout England and the circulation of its organ, G.K.'s Weekly, rose from 4,650 to 8,000 copies. The influence of the movement far exceeded its numbers; men like Father McNabb, O.P., in England (whom some hold fathered rather than was a disciple of the movement), Msgr. Ligutti in the United States, Dr. Coady and Dr. Tompkins in Canada, as well as others in Australia and New Zealand, acknowledged its influence upon their labors.
Despite the yearly loss by the paper and his constant charity to the needy, from panhandlers to causes, Gilbert helped to build the Church at Beaconsfield, until then a mission of High Wycomb parish. It became his memorial.
In 1926 were published The Outline of Sanity, The Catholic Church and Conversion, The Incredulity of Father Brown (as Gilbert said to Father Rice, "My publishers have demanded a fresh batch of corpses"), and The Queen of the Seven Swords; in 1926, his Collected Poems, The Return of Don Quixote (which first appeared serially in G.K.'s Weekly), Robert Louis Stevenson, The Secret of Father Brown, and a play, The Judgment of Dr. Johnson. Like his Magic, it was successful as literature, not as theatre. The Father Brown detective stories brought him charter membership in the Detection Club (1929) and soon afterwards its presidency.
He spent a month of 1927 in Poland, a nation whose true place in Europe he held high. Two years later his visit to Rome resulted in The Resurrection of Rome (1930). His more successful books of this period were his Catholic essays, The Thing (1929), and the two volumes of general essays, Come to Think of It (1930) and All Is Grist (1931), and his reflections flowing from the Eucharistic Congress which he and his wife attended in 1932, Christendom in Dublin, his studies of Chaucer and of St. Thomas Aquinas. Of this last, Etienne Gilson, a foremost Thomistic scholar, said: "I consider it as being without possible comparison the best book ever written on St. Thomas. And P'ere Gillet, O.P., MasterGeneral of the Dominican Order, lectured on and from it to large meetings of Dominicans.
From 1932 until his death he engaged increasingly in radio lectures, delivering as many as forty a year over the B.B.C. The B.B.C. is a state monopoly (as such, Gilbert attacked it: "It is wicked to nationalize mines and railroads; but we lose no time in nationalizing tongues and talk''), and he had to submit a manuscript for each lecture; but, for the sake of spontaneity, he was not held to the letter of it. These talks were so well received that a B.B.C. official remarked after his death that "G.K.C. in another year or so would have become the dominating voice from Broadcasting House." Too, they reached untold thousands who had never read his writings.
While in Rome, Gilbert interviewed Mussolini and had an audience with the Holy Father. In 1934 he was elected, honoris causa, to the Athenaeum Club. Both he and Belloc were invested as Papal Knight Commanders of the Order of St. Gregory with Star. At his death in 1936 the Holy See cabled Cardinal Hinsley: "Holy Father deeply grieved death Mr. Gilbert Keith Chesterton devoted son of Holy Church gifted Defender of the Catholic Faith. His Holiness offers paternal sympathy people of England, assures prayers dear departed, bestows Apostolic Benediction."
The panegyric was delivered in Westminster Cathedral by Msgr. Ronald Knox. His monument was designed by Eric Gill and burial was at Beaconsfield. His wife survived him by a little more than two years.
He had employed his great God-given gifts with humility and charity; indeed these two virtues characterized his life.
Books on him are numerous: first in time and also very important is G. K. Chesterton: a Criticism (1908), published anonymously but later learned to be by his brother Cecil; Belloc's brief but brilliant The Place of Chesterton in English Letters (1940); Father Brown on Chesterton (1937) by Msgr. John O'Connor; The Laughing Prophet (1937) by Emile Cammaerts is concerned more with the man than with the writer; Chesterton As Seen by His Contemporaries (1939), includes material by Gilbert himself, edited by Cyril Clemens; Gilbert's Autobiography (published posthumously in 1936), in which, with characteristic humility, he seems bent upon writing about everyone but himself; and the definitive biography, G. K. Chesterton (1943) by his long-time friend, Maisie Ward (Mrs. Frank J. Sheed).
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
London, 32 Sheffield Terrace, W8 postcode
Taken from www.catholicauthors.com/chesterton.html
The paternal great-grandfather, grandfather and father of G. K. Chesterton were engaged in the business of selling houses,-house agents, as they are called in England. His father, Edward, married Marie Grosjean, whose family had long been English, but had originally come from French Switzerland. They had three children, Gilbert, born on May 29, 1874, Cecil, five years his junior, and Beatrice, who died in childhood.
Gilbert's father distinguished between living and making a living: a successful businessman, he had a dozen hobbies, not the least of them the making of a toy-theatre, and he was widely read, especially in English literature.
A happy childhood in a happy home laid the foundation for Gilbert's sane and sensible outlook on life. As a little boy he read fairy tales; as a big boy he wrote and illustrated them, some of which are preserved in his book The Coloured Lands. Gilbert first attended Colet Court School, entering St. Paul's as a day student when he was twelve. The reports on him for his six years there (1887-92) were that he was a good boy but an indifferent student, a dreamer, interested chiefly in drawing and English literature. In his "dramatic journal,"kept irregularly from his sixteenth year, he dramatized scenes from Scott and burlesqued portions of Shakespeare. He later acknowledged the strong influence on his youthful formation made by the Junior Debating Club, of which he was chairman. It met weekly at the home of one of its dozen teenage members and, following tea, one of them read a paper which was then debated. In the issues of its organ, The Debater, his first prose and verse were printed; his essays on Milton, Pope, Gray, Cowper, Burns, and Wordsworth being noteworthy. In his last year at St. Paul's (1892), he entered a competition for a prize poem (on St. Francis Xavier), and won it. From 1892 to 1895 he studied art at the Slade School and during part of the time he attended lectures on English literature at University College. A fellow-student whose family controlled the publishing firm of Hodder & Stoughton gave him some art books to review in the firm's monthly, The Boohman. And upon leaving Slade, he entered the office of a publisher of spiritualistic literature and later the office of the general publisher, Fisher Unwin. There he began to write Greybeards at Play as well as to revise, edit and counsel the works of others.
At St. Paul's Gilbert formed lifelong friendships with the future writer Edmund C. Bentley and with Lucian Oldershaw. In 1896 Lucian was courting Ethel Blogg (anglicized from Blogue) and took Gilbert with him to call. At first sight he fell in love with her sister Frances and, after a courtship extended by his then meager earnings, they were married in 1901. It was Lucian who, in 1900, also introduced the twenty-six-year old Gilbert to the thirty-year-old Belloc. Their reciprocal influence was lifelong as was their friendship.
In 1899 Gilbert began writing for The Speaker, a Liberal weekly. His first book, a volume of comic verse which he also illustrated, Greybeards at Play, was successfully published in 1900; later that year, his father financed publication of his second book, The Wild Knight and Other Poems. But it was his brilliant though unpopular pro-Boer stand on the Boer War which first brought him to public attention, and by 1901 he also was writing regularly for The Daily News. His third book, The Defendant (1901), comprised some of his essays from The Speaker, and is suffused with paradoxes, a literary form which has since been associated with his name. ("I did not acquit Chesterton of paradox," wrote his great admirer Msgr. Knox, "but, after all, what was a paradox but a statement of the obvious so as to make it sound untrue?")
He prided himself on being a journalist, and much of his work was first published in the popular journals of the day, many of his books being collected and edited from these essays, and much more of it has never been collected at all.
He was a tall man-six-foot two, and a stout one- nearly three hundred pounds; he dressed unconventionally in a wide-brimmed slouch hat and a flowing cloak; and carried a walking stick; he had a leonine head and a rather straggly blonde mustache. By the time he was only thirty-two he had become famous, instantly recognized in public and in caricature. True, some of his most popular works had been published by then: G. F Watts (1902), Twelve Types (1902), Robert Browning (in the English Men of Letters series, 1903), The Napoleon of Notting Nill, which he called his first important book (1904), The Club of Queer Trades (1905), Heretics (1905), and Charles Dickens (1906). And in social intercourse he was already one with such personalities of the day as Joseph Conrad, Henry James, Laurence Binyon, James M. Barrie, Max Beerbohm, Swinburne, George Meredith, Yeats, and Granville Barker.
In 1904, Sir Oliver Lodge invited him to become a candidate for the Chair of Literature at Birmingham University, but he declined. The invitation was doubtless extended on the strength of his books on Browning and on Dickens. The success of the latter was such that he was requested to write a series of prefaces to all of Dickens' novels.
At the time of his marriage he believed in the basic Christian religious truths but in no particular religion. His wife was a convinced Anglo-Catholic, and she was particularly pleased when in 1905 he accepted an invitation to be the first of a series of lay preachers in St. Paul's Church, Covent Garden.
From this time on there was an almost constant stream of lecture engagements far and wide and to almost every type of organization,-religious, literary, social, and even political. He was famous, he was wanted, and he couldn't say no. His wife became his secretary recording times, places, subjects, and arranging itineraries. He became so pressed for time that he had to write at odd moments and to do his newspaper essays at deadline. This constant pressure extended from 1904 to 1908. He was notoriously absent-minded. Typical was the telegram he sent his wife when he was en route to give a lecture: "Am in Market Harborough. Where ought I to be?~' He hated physical exertion as much as he reveled in mental activity.
Another phantasy, The Man Who Was Thursday (1907) was followed by Orthodoxy (1908). When Gilbert had attacked the philosophy of G. S. Street, he retorted that he would worry about it when G.K. would clarify his own. The tesult was Orthodoxy, a series of positive arguments for Christianity. Etienne Gilson considered it ''The best piece of apologetic the century has produced." Incidentally, Gilbert sold the manuscript outright for about $400.00. The meager returns on his numerous and popular writings moved him at this time to employ a literary agent; with gratifying results.
He began a weekly column, "Our Notebook,'' in The Illustrated London News in 1905 and continued it until his death thirty-one years later.
In 1909 he and his wife moved from Battersea, London, to the suburban town of Beaconsfield, which was to be their home for the rest of their lives. Their desire for children was never to be fulfilled; later they adopted Dorothy Collins who had become Gilbert's secretary in 1926. At Overroads, their Beaconsfield home, he was removed from the bustle and bars of Fleet Street and had more leisure for his friends: Max Beerbohm, Jack Phillmore, Msgr. O'Connor, Maurice Baring, Belloc, George Wyndham, Msgr. Knox, and a host of others. But his social life did not deter the stream of his books, as witness The Ball and the Cross, What's Wrong With the World (changed by his publishers from What's Wrong? and in which he formulated his sociology), Alarms and Discursions, and Blake (all published in 1910), Criticisms and Appreciations of Dickens, The Innocence of Father Brown, and, what many deem his greatest writing, The Ballad of the White Horse (all published in 1911). Too, his interest in politics, which he had had from boyhood, became more active: he began by fighting the sale of peerages as a means of secretly raising party funds, and continued blasting every other form of political corruption. Of necessity this interest included social reform, public education, a free press, etc. He resigned from the Liberal owned Daily News (a property of Cadbury of Cadbury's Cocoa) to write for the Daily Herald. He doubtless resigned just before being asked to, for his recent statements regarding the Liberal party leaders included: "Some of them are very nice oldgentlemen, some of them are very nasty old gentlemen, and some of them are old without being gentlemen at all." And again, "The best of His Majesty's Ministers are agnostics, and the worst are devil worshippers." This hit hard because at least nominally Church of England men (some ecclesiastics) were the predominant rulers of the realm.
Reacting against what they believed wrong with the English social-economic condition, Gilbert, his brother Cecil, and Belloc formulated their own program: Distributism. One of their principal points of controversy was over private ownership, chiefly ownership of the land which was tragically curtailed by the law of enclosure by which some five million acres ceased in effect to be the common property of the poor and became the private property of the rich. In books and articles they carried on their fight for the liberty of Englishmen against increasing enslavement to a plutocracy, and to expose and combat corruption in public life. As their audience increased and took form, they decided upon publishing their own paper. It was called The Eye Witness, from 1911-12, The New Witness, from 1912-23, G.K.'s Weekly, from 1925-36, and The Weekly Review, since 1936. It was edited at various times by each of the three. In the Marconi case, they contended that Godfrey Isaacs had used Rulus Isaacs to purchase ministerial favor. The court verdict in this complicated litigation was a gentle rebuke to the Isaacs and a small fine for editor Cecil. So small in view of the serious charges made that the Chesterbelloc considered it a moral victory. But the government then showed its contempt for integrity by appointing Godfrey Isaacs as the Viceroy of India and giving Rufus the title of Lord Reading.
Gilbert's books in this period included Manalive (1911), A Miscellany of Men, essays (1912), The Victorian Age in Literature (1913), The Wisdom of Father Brown (1914), and The Flying Inn (1914). His poetic play, Magic, was produced in England in October 1913, and in Germany soon afterward. And following a conversation with Msgr. O'Connor on the subject, he wrote his best known single poem, "The Ballad of Lepanto" (19 12).
In September 1916, Cecil enlisted as a private in the army and died in France on December 6, 1918. Upon his enlistment, Gilbert succeeded him as editor of The New Witness.
Gilbert went on a lecture tour to Palestine (which became a determining factor in his conversion) in 1919, to Italy in 1920, and to the United States in 1921-22 and again in 1930-31. From these travels came The New Jerusalem (1920), What I Saw in America (1922) and Sidelights on New London and Newer York (1932). His American tour included a series of thirty-six lectures on Victorian literature and history at the University of Notre Dame (his poem "The Arena" commemorates his visit), as well as talks delivered at San Francisco, Omaha, Oklahoma City, Nashville, New York, Chicago, Detroit, Philadelphia, Boston, and other cities.
The same period witnessed the publication of his Irish Impressions (1919), The Uses of Diversity (1920), The Superstition of Divorce (1920), Eugenics and Other Evils (1922), The Man Who Knew Too Much (1922), and Fancies Versus Fads (1923). Some idea of his intellectual fertility is indicated by the fact that at one time he had thirty books contracted for with various publishers.
Gilbert's brother Cecil had become a Catholic shortly before going to war and Gilbert himself had been forming a Catholic mind slowly but steadily from about the same time. But he was not one to be hurried and fortunately even his closest friends, Maurice Baring and Ronald Knox (themselves converts), though he acknowledged their influence upon him, did not try to hurry him. Eventually it was Father O'Connor who received him into the Church in 1922. On the same day he wrote his celebrated poem "The Convert." By her own conscience his wife followed him into the fold four years later.
The time between the death of The New Witness in 1923 and the birth of G.K.'s Weekly in 1925 gave him sufficient leisure to write two of his most important books: St. Francis of Assisi (1923) and The Everlasting Man (1925) . But to the paper which enshrined his brother's memory though it now bore his own initials, Gilbert devoted much of his time as editor from 1925 to 1930. Most of those who knew him regarded it as a sacrifice. Besides Belloc and himself, a steady contributor was Eric Gill; out of friendship for Gilbert, Shaw and Wells contributed occasionally.
In 1926 the social and economic program of the paper feathered the Distributist League, of which Gilbert was elected president. He stated that ''Their simple idea was to restore possession." To restore property and prosperity to the people from whom it had been taken by big government and big business. Distributism was to be a practical alternative to Capitalism and Socialism. Branches were soon established throughout England and the circulation of its organ, G.K.'s Weekly, rose from 4,650 to 8,000 copies. The influence of the movement far exceeded its numbers; men like Father McNabb, O.P., in England (whom some hold fathered rather than was a disciple of the movement), Msgr. Ligutti in the United States, Dr. Coady and Dr. Tompkins in Canada, as well as others in Australia and New Zealand, acknowledged its influence upon their labors.
Despite the yearly loss by the paper and his constant charity to the needy, from panhandlers to causes, Gilbert helped to build the Church at Beaconsfield, until then a mission of High Wycomb parish. It became his memorial.
In 1926 were published The Outline of Sanity, The Catholic Church and Conversion, The Incredulity of Father Brown (as Gilbert said to Father Rice, "My publishers have demanded a fresh batch of corpses"), and The Queen of the Seven Swords; in 1926, his Collected Poems, The Return of Don Quixote (which first appeared serially in G.K.'s Weekly), Robert Louis Stevenson, The Secret of Father Brown, and a play, The Judgment of Dr. Johnson. Like his Magic, it was successful as literature, not as theatre. The Father Brown detective stories brought him charter membership in the Detection Club (1929) and soon afterwards its presidency.
He spent a month of 1927 in Poland, a nation whose true place in Europe he held high. Two years later his visit to Rome resulted in The Resurrection of Rome (1930). His more successful books of this period were his Catholic essays, The Thing (1929), and the two volumes of general essays, Come to Think of It (1930) and All Is Grist (1931), and his reflections flowing from the Eucharistic Congress which he and his wife attended in 1932, Christendom in Dublin, his studies of Chaucer and of St. Thomas Aquinas. Of this last, Etienne Gilson, a foremost Thomistic scholar, said: "I consider it as being without possible comparison the best book ever written on St. Thomas. And P'ere Gillet, O.P., MasterGeneral of the Dominican Order, lectured on and from it to large meetings of Dominicans.
From 1932 until his death he engaged increasingly in radio lectures, delivering as many as forty a year over the B.B.C. The B.B.C. is a state monopoly (as such, Gilbert attacked it: "It is wicked to nationalize mines and railroads; but we lose no time in nationalizing tongues and talk''), and he had to submit a manuscript for each lecture; but, for the sake of spontaneity, he was not held to the letter of it. These talks were so well received that a B.B.C. official remarked after his death that "G.K.C. in another year or so would have become the dominating voice from Broadcasting House." Too, they reached untold thousands who had never read his writings.
While in Rome, Gilbert interviewed Mussolini and had an audience with the Holy Father. In 1934 he was elected, honoris causa, to the Athenaeum Club. Both he and Belloc were invested as Papal Knight Commanders of the Order of St. Gregory with Star. At his death in 1936 the Holy See cabled Cardinal Hinsley: "Holy Father deeply grieved death Mr. Gilbert Keith Chesterton devoted son of Holy Church gifted Defender of the Catholic Faith. His Holiness offers paternal sympathy people of England, assures prayers dear departed, bestows Apostolic Benediction."
The panegyric was delivered in Westminster Cathedral by Msgr. Ronald Knox. His monument was designed by Eric Gill and burial was at Beaconsfield. His wife survived him by a little more than two years.
He had employed his great God-given gifts with humility and charity; indeed these two virtues characterized his life.
Books on him are numerous: first in time and also very important is G. K. Chesterton: a Criticism (1908), published anonymously but later learned to be by his brother Cecil; Belloc's brief but brilliant The Place of Chesterton in English Letters (1940); Father Brown on Chesterton (1937) by Msgr. John O'Connor; The Laughing Prophet (1937) by Emile Cammaerts is concerned more with the man than with the writer; Chesterton As Seen by His Contemporaries (1939), includes material by Gilbert himself, edited by Cyril Clemens; Gilbert's Autobiography (published posthumously in 1936), in which, with characteristic humility, he seems bent upon writing about everyone but himself; and the definitive biography, G. K. Chesterton (1943) by his long-time friend, Maisie Ward (Mrs. Frank J. Sheed).
London, 32 Sheffield Terrace, W8 postcode
Taken from www.catholicauthors.com/chesterton.html
The paternal great-grandfather, grandfather and father of G. K. Chesterton were engaged in the business of selling houses (estate agents as they are called in England). His father, Edward, married Marie Grosjean, whose family had long been English, but had originally come from French Switzerland. They had three children, Gilbert, born on May 29, 1874, Cecil, five years his junior, and Beatrice, who died in childhood.
Gilbert's father distinguished between living and making a living: a successful businessman, he had a dozen hobbies, not the least of them the making of a toy-theatre, and he was widely read, especially in English literature.
A happy childhood in a happy home laid the foundation for Gilbert's sane and sensible outlook on life. As a little boy he read fairy tales; as a big boy he wrote and illustrated them, some of which are preserved in his book The Coloured Lands. Gilbert first attended Colet Court School, entering St. Paul's as a day student when he was twelve. The reports on him for his six years there (1887-92) were that he was a good boy but an indifferent student, a dreamer, interested chiefly in drawing and English literature. In his "dramatic journal,"kept irregularly from his sixteenth year, he dramatized scenes from Scott and burlesqued portions of Shakespeare. He later acknowledged the strong influence on his youthful formation made by the Junior Debating Club, of which he was chairman. It met weekly at the home of one of its dozen teenage members and, following tea, one of them read a paper which was then debated. In the issues of its organ, The Debater, his first prose and verse were printed; his essays on Milton, Pope, Gray, Cowper, Burns, and Wordsworth being noteworthy. In his last year at St. Paul's (1892), he entered a competition for a prize poem (on St. Francis Xavier), and won it. From 1892 to 1895 he studied art at the Slade School and during part of the time he attended lectures on English literature at University College. A fellow-student whose family controlled the publishing firm of Hodder & Stoughton gave him some art books to review in the firm's monthly, The Boohman. And upon leaving Slade, he entered the office of a publisher of spiritualistic literature and later the office of the general publisher, Fisher Unwin. There he began to write Greybeards at Play as well as to revise, edit and counsel the works of others.
At St. Paul's Gilbert formed lifelong friendships with the future writer Edmund C. Bentley and with Lucian Oldershaw. In 1896 Lucian was courting Ethel Blogg (anglicized from Blogue) and took Gilbert with him to call. At first sight he fell in love with her sister Frances and, after a courtship extended by his then meager earnings, they were married in 1901. It was Lucian who, in 1900, also introduced the twenty-six-year old Gilbert to the thirty-year-old Belloc. Their reciprocal influence was lifelong as was their friendship.
In 1899 Gilbert began writing for The Speaker, a Liberal weekly. His first book, a volume of comic verse which he also illustrated, Greybeards at Play, was successfully published in 1900; later that year, his father financed publication of his second book, The Wild Knight and Other Poems. But it was his brilliant though unpopular pro-Boer stand on the Boer War which first brought him to public attention, and by 1901 he also was writing regularly for The Daily News. His third book, The Defendant (1901), comprised some of his essays from The Speaker, and is suffused with paradoxes, a literary form which has since been associated with his name. ("I did not acquit Chesterton of paradox," wrote his great admirer Msgr. Knox, "but, after all, what was a paradox but a statement of the obvious so as to make it sound untrue?")
He prided himself on being a journalist, and much of his work was first published in the popular journals of the day, many of his books being collected and edited from these essays, and much more of it has never been collected at all.
He was a tall man-six-foot two, and a stout one- nearly three hundred pounds; he dressed unconventionally in a wide-brimmed slouch hat and a flowing cloak; and carried a walking stick; he had a leonine head and a rather straggly blonde mustache. By the time he was only thirty-two he had become famous, instantly recognized in public and in caricature. True, some of his most popular works had been published by then: G. F Watts (1902), Twelve Types (1902), Robert Browning (in the English Men of Letters series, 1903), The Napoleon of Notting Nill, which he called his first important book (1904), The Club of Queer Trades (1905), Heretics (1905), and Charles Dickens (1906). And in social intercourse he was already one with such personalities of the day as Joseph Conrad, Henry James, Laurence Binyon, James M. Barrie, Max Beerbohm, Swinburne, George Meredith, Yeats, and Granville Barker.
In 1904, Sir Oliver Lodge invited him to become a candidate for the Chair of Literature at Birmingham University, but he declined. The invitation was doubtless extended on the strength of his books on Browning and on Dickens. The success of the latter was such that he was requested to write a series of prefaces to all of Dickens' novels.
At the time of his marriage he believed in the basic Christian religious truths but in no particular religion. His wife was a convinced Anglo-Catholic, and she was particularly pleased when in 1905 he accepted an invitation to be the first of a series of lay preachers in St. Paul's Church, Covent Garden.
From this time on there was an almost constant stream of lecture engagements far and wide and to almost every type of organization,-religious, literary, social, and even political. He was famous, he was wanted, and he couldn't say no. His wife became his secretary recording times, places, subjects, and arranging itineraries. He became so pressed for time that he had to write at odd moments and to do his newspaper essays at deadline. This constant pressure extended from 1904 to 1908. He was notoriously absent-minded. Typical was the telegram he sent his wife when he was en route to give a lecture: "Am in Market Harborough. Where ought I to be?~' He hated physical exertion as much as he reveled in mental activity.
Another phantasy, The Man Who Was Thursday (1907) was followed by Orthodoxy (1908). When Gilbert had attacked the philosophy of G. S. Street, he retorted that he would worry about it when G.K. would clarify his own. The tesult was Orthodoxy, a series of positive arguments for Christianity. Etienne Gilson considered it ''The best piece of apologetic the century has produced." Incidentally, Gilbert sold the manuscript outright for about $400.00. The meager returns on his numerous and popular writings moved him at this time to employ a literary agent; with gratifying results.
He began a weekly column, "Our Notebook,'' in The Illustrated London News in 1905 and continued it until his death thirty-one years later.
In 1909 he and his wife moved from Battersea, London, to the suburban town of Beaconsfield, which was to be their home for the rest of their lives. Their desire for children was never to be fulfilled; later they adopted Dorothy Collins who had become Gilbert's secretary in 1926. At Overroads, their Beaconsfield home, he was removed from the bustle and bars of Fleet Street and had more leisure for his friends: Max Beerbohm, Jack Phillmore, Msgr. O'Connor, Maurice Baring, Belloc, George Wyndham, Msgr. Knox, and a host of others. But his social life did not deter the stream of his books, as witness The Ball and the Cross, What's Wrong With the World (changed by his publishers from What's Wrong? and in which he formulated his sociology), Alarms and Discursions, and Blake (all published in 1910), Criticisms and Appreciations of Dickens, The Innocence of Father Brown, and, what many deem his greatest writing, The Ballad of the White Horse (all published in 1911). Too, his interest in politics, which he had had from boyhood, became more active: he began by fighting the sale of peerages as a means of secretly raising party funds, and continued blasting every other form of political corruption. Of necessity this interest included social reform, public education, a free press, etc. He resigned from the Liberal owned Daily News (a property of Cadbury of Cadbury's Cocoa) to write for the Daily Herald. He doubtless resigned just before being asked to, for his recent statements regarding the Liberal party leaders included: "Some of them are very nice oldgentlemen, some of them are very nasty old gentlemen, and some of them are old without being gentlemen at all." And again, "The best of His Majesty's Ministers are agnostics, and the worst are devil worshippers." This hit hard because at least nominally Church of England men (some ecclesiastics) were the predominant rulers of the realm.
Reacting against what they believed wrong with the English social-economic condition, Gilbert, his brother Cecil, and Belloc formulated their own program: Distributism. One of their principal points of controversy was over private ownership, chiefly ownership of the land which was tragically curtailed by the law of enclosure by which some five million acres ceased in effect to be the common property of the poor and became the private property of the rich. In books and articles they carried on their fight for the liberty of Englishmen against increasing enslavement to a plutocracy, and to expose and combat corruption in public life. As their audience increased and took form, they decided upon publishing their own paper. It was called The Eye Witness, from 1911-12, The New Witness, from 1912-23, G.K.'s Weekly, from 1925-36, and The Weekly Review, since 1936. It was edited at various times by each of the three. In the Marconi case, they contended that Godfrey Isaacs had used Rulus Isaacs to purchase ministerial favor. The court verdict in this complicated litigation was a gentle rebuke to the Isaacs and a small fine for editor Cecil. So small in view of the serious charges made that the Chesterbelloc considered it a moral victory. But the government then showed its contempt for integrity by appointing Godfrey Isaacs as the Viceroy of India and giving Rufus the title of Lord Reading.
Gilbert's books in this period included Manalive (1911), A Miscellany of Men, essays (1912), The Victorian Age in Literature (1913), The Wisdom of Father Brown (1914), and The Flying Inn (1914). His poetic play, Magic, was produced in England in October 1913, and in Germany soon afterward. And following a conversation with Msgr. O'Connor on the subject, he wrote his best known single poem, "The Ballad of Lepanto" (19 12).
In September 1916, Cecil enlisted as a private in the army and died in France on December 6, 1918. Upon his enlistment, Gilbert succeeded him as editor of The New Witness.
Gilbert went on a lecture tour to Palestine (which became a determining factor in his conversion) in 1919, to Italy in 1920, and to the United States in 1921-22 and again in 1930-31. From these travels came The New Jerusalem (1920), What I Saw in America (1922) and Sidelights on New London and Newer York (1932). His American tour included a series of thirty-six lectures on Victorian literature and history at the University of Notre Dame (his poem "The Arena" commemorates his visit), as well as talks delivered at San Francisco, Omaha, Oklahoma City, Nashville, New York, Chicago, Detroit, Philadelphia, Boston, and other cities.
The same period witnessed the publication of his Irish Impressions (1919), The Uses of Diversity (1920), The Superstition of Divorce (1920), Eugenics and Other Evils (1922), The Man Who Knew Too Much (1922), and Fancies Versus Fads (1923). Some idea of his intellectual fertility is indicated by the fact that at one time he had thirty books contracted for with various publishers.
Gilbert's brother Cecil had become a Catholic shortly before going to war and Gilbert himself had been forming a Catholic mind slowly but steadily from about the same time. But he was not one to be hurried and fortunately even his closest friends, Maurice Baring and Ronald Knox (themselves converts), though he acknowledged their influence upon him, did not try to hurry him. Eventually it was Father O'Connor who received him into the Church in 1922. On the same day he wrote his celebrated poem "The Convert." By her own conscience his wife followed him into the fold four years later.
The time between the death of The New Witness in 1923 and the birth of G.K.'s Weekly in 1925 gave him sufficient leisure to write two of his most important books: St. Francis of Assisi (1923) and The Everlasting Man (1925) . But to the paper which enshrined his brother's memory though it now bore his own initials, Gilbert devoted much of his time as editor from 1925 to 1930. Most of those who knew him regarded it as a sacrifice. Besides Belloc and himself, a steady contributor was Eric Gill; out of friendship for Gilbert, Shaw and Wells contributed occasionally.
In 1926 the social and economic program of the paper feathered the Distributist League, of which Gilbert was elected president. He stated that ''Their simple idea was to restore possession." To restore property and prosperity to the people from whom it had been taken by big government and big business. Distributism was to be a practical alternative to Capitalism and Socialism. Branches were soon established throughout England and the circulation of its organ, G.K.'s Weekly, rose from 4,650 to 8,000 copies. The influence of the movement far exceeded its numbers; men like Father McNabb, O.P., in England (whom some hold fathered rather than was a disciple of the movement), Msgr. Ligutti in the United States, Dr. Coady and Dr. Tompkins in Canada, as well as others in Australia and New Zealand, acknowledged its influence upon their labors.
Despite the yearly loss by the paper and his constant charity to the needy, from panhandlers to causes, Gilbert helped to build the Church at Beaconsfield, until then a mission of High Wycomb parish. It became his memorial.
In 1926 were published The Outline of Sanity, The Catholic Church and Conversion, The Incredulity of Father Brown (as Gilbert said to Father Rice, "My publishers have demanded a fresh batch of corpses"), and The Queen of the Seven Swords; in 1926, his Collected Poems, The Return of Don Quixote (which first appeared serially in G.K.'s Weekly), Robert Louis Stevenson, The Secret of Father Brown, and a play, The Judgment of Dr. Johnson. Like his Magic, it was successful as literature, not as theatre. The Father Brown detective stories brought him charter membership in the Detection Club (1929) and soon afterwards its presidency.
He spent a month of 1927 in Poland, a nation whose true place in Europe he held high. Two years later his visit to Rome resulted in The Resurrection of Rome (1930). His more successful books of this period were his Catholic essays, The Thing (1929), and the two volumes of general essays, Come to Think of It (1930) and All Is Grist (1931), and his reflections flowing from the Eucharistic Congress which he and his wife attended in 1932, Christendom in Dublin, his studies of Chaucer and of St. Thomas Aquinas. Of this last, Etienne Gilson, a foremost Thomistic scholar, said: "I consider it as being without possible comparison the best book ever written on St. Thomas. And P'ere Gillet, O.P., MasterGeneral of the Dominican Order, lectured on and from it to large meetings of Dominicans.
From 1932 until his death he engaged increasingly in radio lectures, delivering as many as forty a year over the B.B.C. The B.B.C. is a state monopoly (as such, Gilbert attacked it: "It is wicked to nationalize mines and railroads; but we lose no time in nationalizing tongues and talk''), and he had to submit a manuscript for each lecture; but, for the sake of spontaneity, he was not held to the letter of it. These talks were so well received that a B.B.C. official remarked after his death that "G.K.C. in another year or so would have become the dominating voice from Broadcasting House." Too, they reached untold thousands who had never read his writings.
While in Rome, Gilbert interviewed Mussolini and had an audience with the Holy Father. In 1934 he was elected, honoris causa, to the Athenaeum Club. Both he and Belloc were invested as Papal Knight Commanders of the Order of St. Gregory with Star. At his death in 1936 the Holy See cabled Cardinal Hinsley: "Holy Father deeply grieved death Mr. Gilbert Keith Chesterton devoted son of Holy Church gifted Defender of the Catholic Faith. His Holiness offers paternal sympathy people of England, assures prayers dear departed, bestows Apostolic Benediction."
The panegyric was delivered in Westminster Cathedral by Msgr. Ronald Knox. His monument was designed by Eric Gill and burial was at Beaconsfield. His wife survived him by a little more than two years.
He had employed his great God-given gifts with humility and charity; indeed these two virtues characterized his life.
Books on him are numerous: first in time and also very important is G. K. Chesterton: a Criticism (1908), published anonymously but later learned to be by his brother Cecil; Belloc's brief but brilliant The Place of Chesterton in English Letters (1940); Father Brown on Chesterton (1937) by Msgr. John O'Connor; The Laughing Prophet (1937) by Emile Cammaerts is concerned more with the man than with the writer; Chesterton As Seen by His Contemporaries (1939), includes material by Gilbert himself, edited by Cyril Clemens; Gilbert's Autobiography (published posthumously in 1936), in which, with characteristic humility, he seems bent upon writing about everyone but himself; and the definitive biography, G. K. Chesterton (1943) by his long-time friend, Maisie Ward (Mrs. Frank J. Sheed).
The statue of Millicent Fawcett in Parliament Square, London, honours the British suffragist leader and social campaigner Dame Millicent Fawcett. It was made in 2018 by Gillian Wearing. Following a campaign and petition by the activist Caroline Criado Perez, the statue's creation was endorsed by both the Prime Minister of the United Kingdom, Theresa May, and the Mayor of London, Sadiq Khan. The statue, Parliament Square's first monument to a woman and also its first sculpture by a woman, was funded through the government's Centenary Fund, which marks 100 years since some women won the right to vote. The memorial was unveiled on 24 April 2018.
Description
The bronze statue portrays Dame Millicent at the age of 50, when she became president of the National Union of Women's Suffrage Societies (NUWSS). The figure holds a banner reading COURAGE/ CALLS TO/ COURAGE/ EVERYWHERE, an extract from a speech Fawcett gave in 1920. She wears a walking suit, typical attire of that period featuring an overcoat and a long dress. The artist integrated the pattern and texture of the tweed fabric into the bronze of the suit. The Fawcett Society lent a piece of Fawcett's jewellery to Wearing, who scanned the brooch and incorporated it into the statue's design.
The initial design was modified following feedback from members of Westminster City Council, as they felt that the sign Fawcett was holding made her look as if she were hanging laundry out to dry. Wearing modified her design to move Fawcett's hands to the corners of the sign, and lowered and flattened the sign itself.
List of engravings
The names and images of 59 women and four men who supported women's suffrage appear on the statue's plinth. They are as follows:
Louisa Garrett Anderson
Dame Margery Corbett Ashby
Margaret Ashton
Minnie Baldock
Frances Balfour
Lydia Becker
Rosa May Billinghurst
Teresa Billington-Greig
Helen Blackburn
Ada Nield Chew
Frances Power Cobbe
Jessie Craigen
Emily Wilding Davison
Charlotte Despard
Flora Drummond
Elizabeth Clarke Wolstenholme Elmy
Isabella Ford
Henrietta Franklin
Mary Gawthorpe
Eva Gore-Booth
Anna Haslam
Claude Hinscliff
Laurence Housman
Edith How-Martyn
Elsie Inglis
Annie Kenney
George Lansbury
Minnie Lansbury
Mary Lowndes
Mary Macarthur
Margaret Mackworth, 2nd Viscountess Rhondda
Chrystal Macmillan
Catherine Marshall
Eva McLaren
Priscilla Bright McLaren
Dora Montefiore
Edith Mansell Moullin
Catherine Osler
Maud Palmer, Countess of Selborne
Adela Pankhurst
Dame Christabel Pankhurst
Emmeline Pankhurst
Sylvia Pankhurst
Emmeline Pethick-Lawrence
Frederick Pethick-Lawrence
Agnes Pochin
Eleanor Rathbone
Sarah Reddish
Annot Robinson
Esther Roper
Lolita Roy
Agnes Maude Royden
Julia Scurr
Hanna Sheehy-Skeffington
Sophia Duleep Singh
Nessie Stewart-Brown
Ray Strachey
Helena Swanwick
Ellen Wilkinson.
The campaign for a woman on Parliament Square
The feminist campaigner and journalist Caroline Criado Perez began a campaign to install a statue of a woman in Parliament Square on 8 March (International Women's Day) 2016, after noticing while jogging that day that all the existing statues on the square were of men. Criado Perez had initiated the 2013 campaign to add a woman to British banknotes, after Elizabeth Fry was replaced by Winston Churchill on the £5 note, and soon thereafter the Bank of England announced that Jane Austen would appear on the new £10 note.
The campaign called for a statue of a suffragette to be placed in Parliament Square in time for the centenary of the Representation of the People Act 1918. Following some research, Criado Perez discovered that only 2.7 percent of the statues in the United Kingdom were of individual women who were not members of the British royal family. On 10 May 2016, to launch the campaign, an open letter was written to the new Mayor of London, Sadiq Khan, signed by 42 prominent women, requesting a statue of a suffragette in Parliament Square by February 2018. Khan quickly agreed to a new suffragette statue, but did not commit to Parliament Square and instead said that the authorities would "explore a suitable site for the statue".
An online petition for the suffragette statue received 74,000 signatures. This was presented to Parliament on 7 June, in an event hosted by the Fawcett Society. At the same time, Criado Perez stated that she backed Millicent Fawcett as the subject of the statue, adding that "It's shocking that she doesn't already have a statue of her own – and Parliament Square is the obvious place for her to be. Not round the corner, or up the road. Nothing less than Parliament Square will do."
On 2 April 2017, it was announced that a statue of Fawcett would be erected in Parliament Square. The Prime Minister, Theresa May, said following the announcement, "The example Millicent Fawcett set during the struggle for equality continues to inspire the battle against the burning injustices of today. It is right and proper that she is honoured in Parliament Square alongside former leaders who changed our country." The Suffrage Statue Commission selected Gillian Wearing, a former Turner Prize winner, to create the statue with it funded from the Government's Centenary Fund.
The statue was part of the 14-18 NOW series of artistic commissions that marked the centenary commemorations of World War I.
Rival campaigns
In addition to the campaign for a statue of Fawcett, a rival campaign existed to install a statue of Emmeline Pankhurst in Parliament Square, which had begun in 2014. This campaign was backed by the former Prime Minister David Cameron, the former MP Neil Thorne, the Leader of the House of Commons Andrea Leadsom and the first female Speaker of the House of Commons Betty Boothroyd. An existing statue of Pankhurst, the Emmeline and Christabel Pankhurst Memorial, has stood in Victoria Tower Gardens next to the Palace of Westminster since 1958. The Pankhurst campaign had initially sought to move this statue into Parliament Square, but discovered that it was too small to be placed there. The campaign commissioned sculptor Angela Conner to produce a 12 ft (3.7 m) tall statue of Pankhurst. Discussions were held about installing a pair of statues in the square, portraying both Fawcett and Pankhurst.
Campaigners from the two suffragette campaigns met, but after Thorne gained the initial agreement of Westminster City Council to place two statues, the Fawcett campaign turned this down following a second meeting between the parties. Criado Perez said that she was "not prepared to compromise on the central point of the campaign, which was to have a statue for a new woman and have one front and centre", and feared that a pair of statues would be featured less prominently in the square than a single one. The decision was made by Westminster City Council in favour of the Fawcett statue; they stated that a future statue of Pankhurst in the square had not been deferred but the existing statue in Victoria Tower Gardens would need to be moved elsewhere.
Thorne said that, following the decision, the statue of Pankhurst created for Parliament Square would instead be placed for the time being in Brompton Cemetery, the place of her burial, while a decision on the Victoria Tower Gardens was made. In addition to the discussion of the suffragette statue, a further campaign was underway to have a statue of the former Prime Minister Margaret Thatcher erected in Parliament Square. The Council turned down the application as it did not meet the 10-year rule (that a minimum of 10 years have to pass following the subject's death) and that the Thatcher family opposed the design. Other statues of Thatcher exist in London: the one in the Guildhall was decapitated in 2002, and the following year another was commissioned for the interior of the Palace of Westminster. Others commented that the location was the appropriate one, but that the statue should be of someone more radical: Mary Wollstonecraft, Sylvia Pankhurst or Emily Davison.
Unveiling
On 24 April 2018, the statue was unveiled in an hour-long ceremony featuring the Prime Minister, the Mayor of London, schoolchildren and choirs. The unveiling itself was performed by three generations of women and girls: Jennifer Loehnis (a descendant of Fawcett), Criado Perez, Justine Simons (Deputy Mayor for Culture and Creative Industries) and two schoolgirls from Millbank Academy in Westminster, and Platanos College, Lambeth. At the event, May credited the work of Fawcett not only achieving votes for women but for allowing her and other female MPs to take their positions in Parliament.
Criado Perez called the unveiling of the statue "one hell of a start" in increasing the representation of women across Britain in both cultural and political spheres. Similar views were supported by Khan, the Labour Party leader Jeremy Corbyn and the former Labour deputy leader Harriet Harman, who suggested that the square's male statues be temporarily moved elsewhere in London to allow there to be only female statues in this prominent location.
Reaction and commentary
The arts editor for BBC News, Will Gompertz, gave the statue five stars in his review. He said that prior to the unveiling, the only statues which stood out in the square were those of Winston Churchill and David Lloyd George, but that has changed with the arrival of the Fawcett statue. He credited the campaign of Criado Perez, and said that the Wearing's execution of the brief was "exceptional". Gompertz praised the overall conception of the design and said that the banner was compelling. He suggested that the design was influenced by Wearing's early 1990s work Signs That Say What You Want Them To Say And Not Signs That Say What Someone Else Wants You To Say in which she took a series of photographs of strangers holding up their personal thoughts on pieces of white card. Overall, he felt that the statue had such impact that it changed the context of Parliament Square, saying that "The Fawcett statue makes most of the others look ridiculous, or pompous or both" (excepting its immediate neighbour, the statue of Gandhi) and that it gave the area a focal point lacking since the end of Brian Haw's peace protest.
June Purvis, emeritus professor of women's and gender history at the University of Portsmouth, criticised some elements of the statue, saying that while the message on the banner was indeed written by Fawcett about Emily Davison, it was not written at the time of her death but instead in the "relative safety" of 1920. At the time of Emily Davison's death, Fawcett's NUWSS refused to take part in the funeral and did not send a wreath. Purvis also highlighted that the image of Emily Davison is on the rear of the statue, and that the campaign was launched with the intention of commemorating a suffragette, not a suffragist, in Parliament Square.
Dame Millicent Garrett Fawcett GBE (née Garrett; 11 June 1847 – 5 August 1929) was an English political activist and writer. She campaigned for women's suffrage by legal change and in 1897–1919 led Britain's largest women's rights association, the National Union of Women's Suffrage Societies (NUWSS), explaining, "I cannot say I became a suffragist. I always was one, from the time I was old enough to think at all about the principles of Representative Government." She tried to broaden women's chances of higher education, as a governor of Bedford College, London (now Royal Holloway) and co-founding Newnham College, Cambridge in 1875. In 2018, a century after the Representation of the People Act, she was the first woman honoured by a statue in Parliament Square.
Biography
Fawcett was born on 11 June 1847 in Aldeburgh, to Newson Garrett (1812–1893), a businessman from nearby Leiston, and his London wife Louisa (née Dunnell, 1813–1903). She was the eighth of their ten children.
According to the Stracheys, "The Garretts were a close and happy family in which children were encouraged to be physically active, read widely, speak their minds, and share in the political interests of their father, a convert from Conservatism to Gladstonian Liberalism, a combative man, and a keen patriot."
As a child, Fawcett's elder sister Elizabeth Garrett Anderson, who became Britain's first female doctor, introduced her to Emily Davies, an English suffragist. In her mother's biography, Louisa Garrett Anderson quotes Davies as saying to her mother, to Elizabeth and to Fawcett, "It is quite clear what has to be done. I must devote myself to securing higher education, while you open the medical profession to women. After these things are done, we must see about getting the vote." She then turned to Millicent: "You are younger than we are, Millie, so you must attend to that."
Aged twelve in 1858, Millicent Fawcett was sent to London with her sister Elizabeth to attend a private boarding school in Blackheath. Millicent found Louisa Browning who led the school to be a "born teacher" whereas her sister remembered the "stupidity" of the teachers. Her sister Louise took her to the sermons of Frederick Denison Maurice, a socially aware and less traditional Anglican priest, whose opinions influenced her view of religion. In 1865, she attended a lecture by John Stuart Mill. The following year, she and a friend, Emily Davies, supported the Kensington Society by collecting signatures for a petition asking Parliament to enfranchise women householders.
Marriage and family
John Stuart Mill introduced Millicent Fawcett to many other women's rights activists, including Henry Fawcett, a Liberal Member of Parliament who had intended to marry her sister Elizabeth before she decided to focus on her medical career. Millicent and Henry married on 23 April 1867. Henry had been blinded in a shooting accident in 1858 and Millicent acted as his secretary. Their marriage was said to be based on "perfect intellectual sympathy"; Millicent pursued a writing career while caring for Henry, and ran two households, one in Cambridge, one in London. The family had some radical beliefs in support of proportional representation, individualistic and free trade principles, and opportunities for women. Their only child was Philippa Fawcett, born in 1868, who was much encouraged by her mother in her studies. In 1890 Philippa became the first woman to obtain top score in the Cambridge Mathematical Tripos exams.
In 1868 Millicent joined the London Suffrage Committee, and in 1869 spoke at the first public pro-suffrage meeting held in London. In March 1870 she spoke in Brighton, her husband's constituency. As a speaker she was said to have a clear voice. In 1870 she published her short Political Economy for Beginners, which was "wildly successful", running through 10 editions in 41 years. In 1872 she and her husband published Essays and Lectures on Social and Political Subjects, containing eight essays by Millicent. In 1875 she co-founded Newnham Hall and served on its council.
Despite many interests and duties, Millicent, with Agnes Garrett, raised four of their cousins, who had been orphaned early in life: Amy Garrett Badley, Fydell Edmund Garrett, Elsie Garrett (later a prominent botanical artist in South Africa), and Elsie's twin, John.
After Fawcett's husband died on 6 November 1884, she temporarily withdrew from public life, sold both family homes and moved with Philippa to the house of her sister, Agnes Garrett. When she resumed work in 1885, she began to concentrate on politics and was a key member of what became the Women's Local Government Society. Originally a Liberal, she joined the Liberal Unionist Party in 1886 to oppose Irish Home Rule. She, like many English Protestants, felt that allowing home rule for Catholic Ireland would hurt England's prosperity and be disastrous for the Irish. In 1885, she had also voiced her support for W. T. Stead over his term of imprisonment.
In 1891 Fawcett wrote the introduction to a new edition of Mary Wollstonecraft's book A Vindication of the Rights of Woman. Lyndall Gordon calls this an "influential essay"; Fawcett reasserted the reputation of the early feminist philosopher and claimed her as an early figure in the struggle for the vote.
Fawcett was granted an honorary doctorate of law by the University of St Andrews in 1899.
Political activities
Fawcett began her political career at the age of 22, at the first women's suffrage meeting. After the death of Lydia Becker, Fawcett became leader of the National Union of Women's Suffrage Societies (NUWSS), Britain's main suffragist organisation. Politically she took a moderate position, distancing herself from the militancy and direct actions of the Women's Social and Political Union (WSPU), which she believed would harm women's chances of winning the vote by souring public opinion and alienating members of Parliament. Despite the publicity for the WSPU, the NUWSS with its slogan "Law-Abiding suffragists" retained more support. By 1905, Fawcett's NUWSS had 305 constituent societies and almost 50,000 members, compared with the WSPU's 2,000 members in 1913. Fawcett mainly fought for women's suffrage, and found home rule "a blow to the greatness and prosperity of England as well as disaster and... misery and pain and shame".
She explains her disaffiliation from the more militant movement in her book What I remember:
I could not support a revolutionary movement, especially as it was ruled autocratically, at first, by a small group of four persons, and latterly by one person only.... In 1908, this despotism decreed that the policy of suffering violence, but using none, was to be abandoned. After that, I had no doubt whatever that what was right for me and the NUWSS was to keep strictly to our principle of supporting our movement only by argument, based on common sense and experience and not by personal violence or lawbreaking of any kind.
The South African War gave a chance to Fawcett to share female responsibilities in British culture. She was nominated to lead a commission of women sent to South Africa, sailing there in July 1901 with other women "to investigate Emily Hobhouse's indictment of atrocious conditions in concentration camps where the families of the Boer soldiers were interned." No British women had been entrusted before with such a task in wartime. Millicent fought for the civil rights of the Uitlanders "as the cause of revival of interest in women's suffrage".
Fawcett had backed countless campaigns over many years, for instance to curb child abuse by raising the age of consent, criminalise incest and cruelty to children within the family, end the practice of excluding women from courtrooms when sexual offences were considered, stamp out the "white slave trade", and prevent child marriage and the introduction of regulated prostitution in India. Fawcett campaigned to repeal the Contagious Diseases Acts, as reflecting sexual double standards. They required prostitutes to be examined for sexually transmitted diseases and if found to have passed disease to their clients, to be imprisoned. Women could be arrested on suspicion of being a prostitute and imprisoned for refusing consent to examinations that were invasive and painful. The men who infected the women were not subject to the Acts, which were repealed through campaigning by Fawcett and others. She believed such double standards would never be erased until women were represented in the public sphere.
Fawcett wrote three books, one co-authored with her husband, and many articles, some published posthumously. Her Political Economy for Beginners went into ten editions, sparked two novels, and appeared in many languages. One of her first articles on women's education appeared in Macmillan's Magazine in 1875, the year when her interest in women's education led her to become a founder of Newnham College for Women in Cambridge. There she served on the college council and backed a controversial bid for all women to receive Cambridge degrees. Millicent regularly spoke at girls' schools, women's colleges and adult education centres. In 1904, she resigned from the Unionists over free trade, when Joseph Chamberlain gained control in his campaign for tariff reform.
When the First World War broke out in 1914, the WSPU ceased all activities to focus on the war effort. Fawcett's NUWSS replaced her political activity with support for hospital services in training camps, Scotland, Russia and Serbia, largely because the organisation was markedly less militant than the WSPU: it contained many more pacifists and support for the war within it was weaker. The WSPU was called jingoistic for its leaders' strong support for the war. While Fawcett was no pacifist, she risked dividing the organisation if she ordered a halt to the campaign and diverted NUWSS funds to the government as the WSPU had. The NUWSS continued to campaign for the vote during the war and used the situation to its advantage by pointing out the contribution women had made to the war effort. She held her post until 1919, a year after the first women had received the vote under the Representation of the People Act 1918. After that, she left the suffrage campaign and devoted time to writing books, including a biography of Josephine Butler.
Later years
In 1919 Fawcett was awarded an honorary doctorate from the University of Birmingham. In the 1925 New Year Honours she was appointed Dame Grand Cross of the Order of the British Empire (GBE).
Millicent Fawcett died in 1929 at her London home in Gower Street, Bloomsbury. She was cremated at the Golders Green Crematorium although the final resting place of her ashes is unknown.
In 1932, a memorial to Fawcett, alongside that of her husband, was unveiled in Westminster Abbey with an inscription: "A wise constant and courageous Englishwoman. She won citizenship for women."
Legacy
Millicent Fawcett Hall was constructed in 1929 in Westminster as a place for women's debates and discussions; presently owned by Westminster School, the hall is used by the drama department as a 150-seat studio theatre. Saint Felix School, near Fawcett's birthplace of Aldeburgh, has named one of its boarding houses after her. A blue plaque for Fawcett was erected in 1954 by London County Council at her home of 45 years in Bloomsbury. The archives of Millicent Fawcett are held at The Women's Library, London School of Economics, which in 2018 renamed one of its campus buildings Fawcett House, after her role in the British suffrage movement and connections to the area.
In February 2018, Fawcett was announced as winner of a BBC Radio 4 poll for the most influential woman of the past 100 years. The Millicent Fawcett Mile is an annual one-mile running race for women, inaugurated in 2018 at the Müller Anniversary Games in London. On 11 June 2018, Google celebrated Millicent Fawcett's 171st Birthday with a doodle.
Commemoration
In 2018, 100 years after the passing of the Representation of the People Act, for which Fawcett had successfully campaigned and which granted limited franchise, she became the first woman commemorated with a statue in Parliament Square, by the sculptor Gillian Wearing. This followed a campaign led by Caroline Criado Perez, in which over 84,000 online signatures were gathered.
Fawcett's statue holds a banner quoting from a speech she gave in 1920, after Emily Davison's death during the 1913 Epsom Derby: "Courage calls to courage everywhere". At its unveiling Theresa May said, "I would not be standing here today as Prime Minister, no female MPs would have taken their seats in Parliament, none of us would have the rights we now enjoy, were it not for one truly great woman: Dame Millicent Garrett Fawcett."
Notable works
1870: Political Economy for Beginners Full text online
1872: Essays and Lectures on Social and Political Subjects (with Henry Fawcett) Full text online.
1872: Electoral Disabilities of Women: a lecture
1874: Tales in Political Economy Full text online
1875: Janet Doncaster, a novel, set in her birthplace of Aldeburgh, Suffolk Full text online
1889: Some Eminent Women of our Times: short biographical sketches Full text online
1895: Life of Her Majesty, Queen Victoria Full text online
1901: Life of the Right Hon. Sir William Molesworth Full text online
1905: Five Famous French Women Full text online
1912: Women's Suffrage : a Short History of a Great Movement ISBN 0-9542632-4-3 Full text online
1920: The Women's Victory and After: Personal reminiscences, 1911–1918 Full text online
1924: What I Remember (Pioneers of the Woman's Movement) ISBN 0-88355-261-2 Full text online
1926: Easter in Palestine, 1921-1922 Text online
1927: Josephine Butler: her work and principles and their meaning for the twentieth century (written with Ethel M. Turner)
A selection of her speeches, pamphlets, and newspaper columns is published in "Millicent Garrett Fawcett: Selected Writings". Terras, M. and Crawford, E. (Eds). (2022). UCL Press.
British postcard by Raphael Tuck & Sons' Real Photograph, no. 20-S. Photo: Gaumont-British.
A.W. Baskcomb (1880 – 1939) is best remembered for his creation of the part of ‘Slightly’ in the very first stage production of J.M. Barrie's Peter Pan (1904). He created a major character out of an underwritten part and went on to play it for seven years. At the end of his career he became briefly a popular film star.
A.W. ‘Archie’ Baskcomb was born in London, UK, in 1880. His father had been chief clerk to King Edward, when he was Prince of Wales. His brother was the actor Laurence Baskcomb. Archie began his stage career as a dumb negro in The Octoroon in 1890. His appearances since then were many and varied. He played in comedies, musicals, revues and pantomime. His most famous part was ‘Slightly’ in the very first stage production of J.M.Barrie's Peter Pan in 1904. He created a major character out of an underwritten part and went on to play it for seven years. In 1913 he made his film debut for the Urban Trading Company in The Staff Dinner. In this short silent comedy he played a clerk who gets drunk at the annual dinner and comes home late. The wife was played by his real wife, Ninon Dudley. Baskcomb is also credited as the writer of the film. Among his later West End productions were Mayfair and Montmartre (1922) by John Hastings Turner at the New Oxford Theatre, the musical Lilac Time (1922-1923) at the Lyric Theatre, The Street Singer (1924) with Phyllis Dare at the Lyric Theatre, and the musical Queen High (1926) with Sonnie Hale at the Queen's Theatre, the musical Mercenary Mary at the London Hippodrome.
After the introduction of sound film, A.W. Baskcomb made his come-back in the cinema. First he played the lead in the short comedy A Safe Proposition (1932, Leslie S. Hiscott). Yjen he supported Ivo Novello and Elizabeth Allen in The Lodger (1932, Maurice Elvey) . This was the first sound remake of the silent classic of 1926 directed by Alfred Hitchcock, which was inspired by the Jack the Ripper legend. Novello, who played the title role and headed the team writing the script, was in the original as well. He plays Michael Angeloff, a Hungarian musician, who takes lodgings with the Bunting family. Baskcomb played the head of the family. A romance develops between his daughter Daisy (Allen) and Angeloff. In the meanwhile a maniac stalks and murders street-women at night and circumstances gradually point the finger of suspicion at Angeloff, as the only clue the police have is that the killer is a foreign musician. Hal Erickson at AllMovie: “In Belloc-Lowndes' original novel The Lodger, the reclusive young man suspected of being Jack the Ripper turns out to be exactly who he's assumed to be. When Alfred Hitchcock directed the 1926 film version of The Lodger, he was advised that the public would never accept the popular star Ivor Novello as a serial killer, thus the film was given a happy ending. Novello himself wrote the screenplay for the 1932 non-Hitchcock talkie version of The Lodger, which, though updated from the novel's 19th century setting, retains its original shocker climax. Well received at the time of its release but rarely seen in recent years, the 1932 Lodger can be regarded as a serviceable bridge between the 1926 Hitchcock silent and the definitive 1944 20th Century-Fox remake starring Laird Cregar.”
Next A.W. Baskcomb played in the comedy The Midshipmaid (1932, Albert de Courville) starring Jessie Matthews. The following year, he supported Matthews again in the charming musical The Good Companions (1933, Victor Saville). The story was taken from JB Priestley's novel about three musicians joining together to save a failing concert party, the Dinky Doos. Craig Butler reviews at AllMovie: “Although a big success when originally released (and remade several times), The Good Companions has not held up particularly well over the years and is of primary interest for its cast. One of the cinema's many backstage musicals, Companions has a plot the elements that have been used time and again, from a chorus girl determined to be a star to a nascent songwriter who falls for her. The screenplay does win a few points, however, for the manner in which it introduces its characters, and the result is that the true star of the picture is not obvious for quite some time. The musical numbers (...) are pleasant and diverting, but hardly striking or original. Fortunately, Jessie Matthews figures prominently in many of the songs, giving them a great boost. Although never a great star abroad, Matthews was beloved by the British public, and it's easy to see why. She positively sparkles, and even when her acting comes across as rather broad, she manages to be appealing. The chance to see a very young John Gielgud in a musical is another drawing card; although he's not exactly at ease in the role, he actually handles it quite well. Even better is the delightful Edmund Gwenn, whose gentle portrayal gathers in strength and helps to anchor the film. These and the other members of the cast make Companions worth catching.” The Good Companions was a smash hit and it made Baskcomb a star. The postcards in this post and other collector’s cards were produced at the time. However, it was to be his last film. A.W. Baskcomb died in 1939 in London.
Sources: Hal Erickson (AllMovie), Craig Butler (AllMovie), Collector’s Card (NYPL Digital Gallery), Charles Lee (IMDb) and IMDb.
See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
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0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
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Interesting publication for researches on running and art
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
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Sus
See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
—----
0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
---
Interesting publication for researches on running and art
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See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
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0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
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Interesting publication for researches on running and art
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
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Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
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Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
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Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
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Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
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