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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

British postcard by Art Photo, no. 54.

 

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 the classics 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 though, 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 enamoured of the cinema 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. 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 (Rex Ingram, 1928) starring Alice Terry and Iván 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 (Zoltan Korda, Leontine Sagan, 1933) 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 (Alexander Korda, 1934) opposite Douglas Fairbanks Sr., and Lady Blakeney in The Scarlet Pimpernel (Harold Young, 1934) 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 (Sidney Franklin, 1935) 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 (William Wyler, 1936), 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. Next she appeared in Over the Moon (Thornton Freeland, 1936) with Rex Harrison, and The Divorce of Lady X (Tim Whelan, 1938). She was selected to star in Korda's epic film I, Claudius (Josef von Sternberg, 1937) 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 (William Wyler, 1939) opposite Laurence Olivier as Heathcliff. It would become her best-remembered performance.

 

The 1940s proved to be a very busy decade for Merle Oberon, as she appeared in no less than 15 films, including That Uncertain Feeling (Ernst Lubitsch, 1941), The Lodger (John Brahm, 1944) about Jack the Ripper, and A Song to Remember (Charles Vidor, 1945) 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 (Jacques Tourneur, 1948) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (Bernard Vorhaus, 1951). She then appeared as Empress Josephine in Désirée (Henry Koster, 1954) 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 to 1973). They adopted two children, Francesca Pagliai and Bruno Pagliai Jr. Her final film was Interval (Daniel Mann, 1973) which she also produced, and co-edited. According to Bruce Eder of AllMovie, it is “a strange romantic drama that co-starred 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 Robert Wolders, a Dutch actor, 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. She 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). This book was made into a TV miniseries, Queenie (1987) starring Mia Sara.

 

Sources: Brian McFarlane (Encyclopedia of British Film), Denny Jackson (IMDb), Bruce Eder (AllMovie), Turner Classic Movies, Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

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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Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).

 

Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.

Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”

 

Култура/Culture (2015).

Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian

 

Institute, 2005.

 

Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.

 

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).

 

White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.

 

Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.

 

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.

 

Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.

 

Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.

 

Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

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

 

www.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

 

The Church of St Thomas the Martyr (known as St Thomas' Newcastle) in Newcastle upon Tyne, Tyne and Wear, England. It is a prominent city centre landmarks, located close to both universities, the city hall and main shopping district in the Haymarket.

 

It is a 19th-century Anglican re-foundation of a medieval chapel, traditionally said to have been created by one of the assassins of Thomas Becket. Revitalised and appointed as Resource Church for the Diocese of Newcastle in 2019, with a new minister and staff team, it has now become a popular church for students and young adults.

 

History

Dedication and foundation

The church is dedicated to St Thomas Becket, Archbishop of Canterbury, who was murdered in 1170 by a group of four English knights acting – so they mistakenly believed – on the orders of Henry II. Since Becket had defended the privileges of the Church against Henry, he was regarded as a martyr and canonized in 1173. The four murderers were instructed, in order to atone for their sins, to serve a period as confreres (associate brothers) of the Knights Templar, but it is believed that one of them, Hugh de Morville, also elected to found a chapel dedicated to the saint as a private penance. It was this chapel which would eventually become the Church of St Thomas the Martyr. The precise foundation date is uncertain, but probably in the 1170s, and certainly by the early 13th century.

 

De Morville’s chapel

De Morville – if indeed he was responsible (there is no absolute proof) – set up his chapel at a riverside location, next to what is now the Swing Bridge but what was then a wooden affair and the only bridge across the Tyne at Newcastle. By 1248 both bridge and chapel were in the care of a Keeper, known only as Lawrence. In that year much of the town was destroyed by fire; the chapel escaped, but the bridge was badly damaged and Lawrence was given responsibility for raising money for rebuilding, which included the reconstruction of the bridge in stone.

 

In 1329 one William Heron founded a Chantry within St Thomas’, dedicated to St Anne and endowed with £4 17s per annum; a second Chantry, dedicated to St Mary, had £4 3s 6d a year. In 1339 the chapel bridge was once more severely damaged, this time by flood, and it remained ruinous for much of the 14th century.

 

The chapel possessed three cellars, one of which was rented out by William Spyn, the then chaplain, at 14 shillings a year in 1347. Further income was raised through a windmill below Jesmond (confirmed as the chapel's property in 1408) and more land, in Whickham, left to the chapel in the will of Roger Thornton in 1429.

 

St Mary Magdalene’s Hospital and the move to the new site

The Hospital of St Mary Magdalene was founded just outside Newcastle by Henry I to cater for those afflicted with leprosy, a disease brought to the Country by returning Crusaders. The hospital was located near what is now the northern end of Northumberland Street. Although a religious house, the hospital was overlooked in the Dissolution of the Monasteries in the 16th century English Reformation, and the Hospital continues to operate into the present day, though evolving into a charity rather than a working hospital by the early 19th century. James I incorporated the hospital and the Chapel of St Thomas the Martyr into a single institution under the government of a Master, the first of these being a Mr Jennison.

 

In 1732 the Mayor and Corporation of Newcastle, who acted as patrons of the united hospital and chapel and who were empowered to alter the statutes, beautified the chapel and made it a Chapel of ease for St Nicholas Church. At that time it seated 300 people.

 

Alterations were made to the chapel in 1770 and subsequently, but it was damaged in a great flood in 1771. Although the building was not substantially affected, by 1827 it was felt the old chapel needed replacing and it was closed in March that year, with a replacement built on the site of St Mary Magdalene's Hospital.

 

1830 new church

The Newcastle architect John Dobson was hired to design the new church, and he produced an elegant Gothic-style building at a cost of £6000. The present church was built by John Dobson, between 1827 and 1830. Galleries were added in 1837 and the seating was replaced in 1881. In 1972 the level of the High Altar was lowered, the chancel screen removed and the chancel extended into the nave, with a nave altar. The present church is a Grade II* Listed Building.

 

Exodus to Jesmond

1856 saw the untimely death of Rev Richard Clayton, Master of St Thomas's, and a local evangelical light. In his place the city authorities decided to appoint Clement Moody, vicar of Newcastle and a high churchman opposed to evangelicalism. A large number of the congregation of St Thomas's were deeply unhappy. A committee was formed with the intention of planting a new church nearby, which "will form a central point for the maintenance and promulgation of sound scriptural and evangelical truth in a large and populous town."[citation needed] A new church building, Jesmond Parish Church, was designed by the architect John Dobson and consecrated by 1861.

 

The modern church

Legal status

The modern St Thomas the Martyr has no parish, but neither is it a Peculiar (ecclesiastical enclave), making it unique in the Church of England. It is governed by the Body Corporate (comprising the senior priest and Churchwardens) and ultimately through Acts of Parliament. It lies within the Diocese of Newcastle, the Archdeaconry of Northumberland and the Deanery of Newcastle. It was formally separated from the Hospital of St Mary Magdalene in 1978, but the senior priest of the church is still referred to as the Master.

 

Services and civic function

Despite having no parish, the church maintains a normal routine of regular weekly services. Currently, these consist of 10.30am Communion service (Eucharist) and a 6.30pm communion service on Sundays and a service of Holy Communion at 12.30pm on Wednesdays.

 

However, the church is regarded as serving the whole city, the universities and various organisations and communities. Consequently, it serves as the venue for a busy programme of civic and private services. Its proximity to the City Hall and to both Newcastle and Northumbria Universities mean it acts as semi-official church to these institutions, but it also provides regular services for the Royal British Legion, various Regimental Associations and the Mothers’ Union, amongst other groups. In recent years, conductor and organist Miles Cragg has presided at the organ for a number of carol services. A choir comprising members of King's College, later Newcastle University, always sang at the University Carol Service in December and occasionally for funerals of members of staff of the University.

 

St Thomas' launched in October 2019 as the Resource Church for the Diocese of Newcastle. A new staff team were employed and a team from St Michael le Belfrey in York was sent to relaunch the church. The congregation very quickly grew and the church now attracts large numbers of young people each week.

 

Ethos

St Thomas's has a reputation for involvement in social issues, most notably trade justice, developing countries' debt and related subjects. This has been expressed through major campaigns, such as involvement in the Jubilee 2000 and Make Poverty History movements, and also on a smaller scale, such as support for Fair Trade and sale of fairly traded goods in the church's One World Shop. In addition a variety of national, international and local charitable causes are supported through a range of methods.

 

2019 building project

Starting in 2019, plans were drawn up for a major renovation and reordering of the Church building, and was completed in 2022. As part of the work, the floors were removed and rebuilt, new partitions were inserted in order to create meeting rooms and other spaces in the former aisles of the church, and the 19th century bench seating was removed and replaced with standard stackable chairs. The galleries of 1837 have been enclosed in glass, and the raked seating has been floored over in order to create additional rooms. A full-immersion font was installed in the nave of the church.

 

List of Masters

Laurence, in 1269.

William of Stanhope occurs in 1289 and 1297.

Nicholas de Stockton occurs in 1341.

William Spynn was master and keeper of Tyne Bridge in 1347 and 1352.

John Wernmouth occurs in 1411 and 1413.

John Crofte appointed by the corporation in 1426.

Thomas Scott occurs in 1498.

John Brandlyng, clerk, appointed 30 August 1538.

Cuthbert Ellison held this office before 13 March 1556.

Sir George Carr, priest, appointed 24 July 1565.

Robert Jennison 1611 - 1652

Cuthbert Sydenham 1652 - 1653

Samuel Hammond 1653 - ????

Robert Bonner 1662 - 1676

Thomas Davison 1676 - 1716

John Chilton 1716 - 1717

Robert Thomlinson 1717 - 1748

Henry Featherstonehalgh 1748 - 1779

Nathanael Clayton 1779 - 1786

Henry Ridley 1786 - 1825

John Smith 1825 - 1826

Richard Clayton 1826 - 1856

Clement Moody 1856 - 1871

Marsden Gibson 1872 - 1894

Alexander James Harrison 1894 - 1914

Jesse Hickling Ison 1914 - 1940

George Edwin Jenkins 1941 - 1947

Albert John Bennitt 1948 - 1969

John Lloyd Rochfort Crawley 1969 - 1974[3]

Ian Harker 1975 - 1983

David John Parker 1984 - 1989

Ian David Houghton 1990 - 1995

John Christopher (Kit) Widdows 1995 - 2007

Catherine Mary Lack 2009 - 2018

Ben Doolan 2019–Present

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.

 

Norman period

After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.

 

In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.

 

Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.

 

Middle Ages

Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.

 

The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.

 

Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.

 

In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.

 

In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.

 

Religious houses

During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.

 

The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.

 

The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.

 

The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.

 

The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.

 

The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.

 

All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.

 

An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.

 

Tudor period

The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.

 

During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).

 

With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.

 

Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.

 

The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.

 

In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.

 

Stuart period

In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.

 

In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.

 

In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.

 

In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.

 

In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.

 

A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.

 

Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.

 

In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.

 

In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.

 

Eighteenth century

In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.

 

In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.

 

In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.

 

Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.

 

The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.

 

In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.

 

A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.

 

Victorian period

Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.

 

In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.

 

In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.

 

In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.

 

In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.

 

Industrialisation

In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.

 

Innovation in Newcastle and surrounding areas included the following:

 

George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.

George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.

 

Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.

 

Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.

 

William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.

 

The following major industries developed in Newcastle or its surrounding area:

 

Glassmaking

A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.

 

Locomotive manufacture

In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.

 

Shipbuilding

In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.

 

Armaments

In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.

 

Steam turbines

Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.

 

Pottery

In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.

 

Expansion of the city

Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.

 

Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.

 

Twentieth century

In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.

 

During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.

 

In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.

 

Newcastle City Council moved to the new Newcastle Civic Centre in 1968.

 

As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.

 

In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.

 

As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.

 

The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.

 

Recent developments

Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.

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

 

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.

 

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Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.

 

Cambridge: MIT Press, 2003.

Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.

 

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Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.

 

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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

 

www.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

 

British Real Photograph postcard, no. 102c. Photo: London Films.

 

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 the classics 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 though, 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 enamoured of the cinema 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. 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 (Rex Ingram, 1928) starring Alice Terry and Iván 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 (Zoltan Korda, Leontine Sagan, 1933) 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 (Alexander Korda, 1934) opposite Douglas Fairbanks Sr., and Lady Blakeney in The Scarlet Pimpernel (Harold Young, 1934) 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 (Sidney Franklin, 1935) 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 (William Wyler, 1936), 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. Next she appeared in Over the Moon (Thornton Freeland, 1936) with Rex Harrison, and The Divorce of Lady X (Tim Whelan, 1938). She was selected to star in Korda's epic film I, Claudius (Josef von Sternberg, 1937) 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 (William Wyler, 1939) opposite Laurence Olivier as Heathcliff. It would become her best-remembered performance.

 

The 1940s proved to be a very busy decade for Merle Oberon, as she appeared in no less than 15 films, including That Uncertain Feeling (Ernst Lubitsch, 1941), The Lodger (John Brahm, 1944) about Jack the Ripper, and A Song to Remember (Charles Vidor, 1945) 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 (Jacques Tourneur, 1948) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (Bernard Vorhaus, 1951). She then appeared as Empress Josephine in Désirée (Henry Koster, 1954) 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 to 1973). They adopted two children, Francesca Pagliai and Bruno Pagliai Jr. Her final film was Interval (Daniel Mann, 1973) which she also produced, and co-edited. According to Bruce Eder of AllMovie, it is “a strange romantic drama that co-starred 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 Robert Wolders, a Dutch actor, 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. She 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). This book was made into a TV miniseries, Queenie (1987) starring Mia Sara.

 

Sources: Brian McFarlane (Encyclopedia of British Film), Denny Jackson (IMDb), Bruce Eder (AllMovie), Turner Classic Movies, Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

The Postcard

 

A postcard that was published by Gordon Fraser with photography by Eric de Maré. The image is a glossy real photograph.

 

On the back of the card the publishers provide the following information:

 

'London Westminster - The

Royal Albert Hall.

Captain Francis Fowke, R.E. designed the

Royal Albert Hall which was built in 1867-

1881. The interior comprises one vast, oval

amphitheatre in which 8,000 people can

be seated.

Mecca for concerts, choral events and

festivals, it is nevertheless notorious for its

poor acoustic properties.

The frieze, encircling the building below

the dome, by Armitage, Pickersgill. Marks

and Poynter, is in terracotta and represents

the Triumph of Arts and Letters'.

 

The card was posted in Kensington, London W8 on Tuesday the 20th. July 1965 to:

 

Martin,

Dalnaglar Castle,

Glenshee,

Perthshire,

Scotland.

 

The message on the divided back was as follows:

 

"More of the wonders of

London.

We are in the middle of a

tropical storm here.

Have bought Queen so am

expecting some 'In' love

tokens!

Love,

Sarah".

 

The Royal Albert Hall

 

The Royal Albert Hall is a concert hall on the northern edge of South Kensington, London. One of the United Kingdom's most treasured and distinctive buildings, it is held in trust for the nation and managed by a registered charity which receives no government funding. It can seat 5,272 people.

 

The Royal Albert Hall has been affectionately named "The Nation's Village Hall".

 

Since the hall's opening by Queen Victoria in 1871, the world's leading artists from many performance genres have appeared on its stage. It is the venue for the Proms concerts, which have been held there every summer since 1941.

 

It is host to more than 390 shows in the main auditorium annually, including classical, rock and pop concerts, ballet, opera, film screenings with live orchestral accompaniment, sports, awards ceremonies, school and community events, and charity performances and banquets. A further 400 events are held each year in the non-auditorium areas.

 

The hall was originally supposed to have been called the Central Hall of Arts and Sciences, but the name was changed to the Royal Albert Hall of Arts and Sciences by Queen Victoria upon laying the Hall's foundation stone in 1867, in memory of her husband, Prince Albert, who had died six years earlier.

 

History of The Royal Albert Hall

 

The Royal Albert Hall in the 1800's

 

In 1851 the Great Exhibition, organised by Prince Albert, was held in Hyde Park, London. The Exhibition was a success, and this led Prince Albert to propose the creation of a group of permanent facilities for the public benefit, which came to be known as Albertopolis.

 

The Exhibition's Royal Commission bought Gore House, but it was slow to act, and in 1861 Prince Albert died without having seen his ideas come to fruition. However, a memorial was proposed for Hyde Park, with a Great Hall opposite.

 

The proposal was approved, and the site was purchased with some of the profits from the Exhibition. The Hall was designed by civil engineers Captain Francis Fowke and Major-General Henry Y. D. Scott of the Royal Engineers, and built by Lucas Brothers.

 

The designers were heavily influenced by ancient amphitheatres, but had also been exposed to the ideas of Gottfried Semper while he was working at the South Kensington Museum.

 

The recently opened Cirque d'Hiver in Paris was seen in the contemporary press as the design to outdo.

 

The Hall was constructed mainly of Fareham Red Brick, with terra cotta block decoration made by Gibbs and Canning Ltd. of Tamworth.

 

The dome (designed by Rowland Mason Ordish) was made of wrought iron and glazed. There was a trial assembly of the dome's iron framework in Manchester; then it was taken apart and transported to London by horse and cart.

 

When the time came for the supporting structure to be removed from the dome after reassembly in situ, only volunteers remained on-site in case the structure collapsed. It did drop – but only by five-sixteenths of an inch (8 mm).

 

The Hall was scheduled to be completed by Christmas Day 1870, and Queen Victoria visited a few weeks beforehand to inspect.

 

The official opening ceremony of the Royal Albert Hall was on the 29th. March 1871. A welcoming speech was given by Edward, the Prince of Wales because Queen Victoria was too overcome to speak;

 

"Her only recorded comment on the

Hall was that it reminded her of the

British constitution".

 

In the concert that followed, the Hall's acoustic problems immediately became apparent. Engineers first tried to remove the strong echo by suspending a canvas awning below the dome. This helped, and also sheltered concert-goers from the sun, but the problem was not solved - it used to be jokingly said:

 

"The Hall is the only place where

a British composer could be sure

of hearing his work twice".

 

In July 1871, French organist Camille Saint-Saëns performed Church Scene from Faust by Charles Gounod; The Orchestra described him as:

 

"An exceptional and distinguished

performer ... the effect was most

marvellous."

 

Initially lit by gas, the Hall contained a special system by which thousands of gas jets were lit within ten seconds. Though it was demonstrated as early as 1873 in the Hall, full electric lighting was not installed until 1888. During an early trial when a partial installation was made, one disgruntled patron wrote to The Times, declaring it to be:

 

"A very ghastly and unpleasant

innovation".

 

In May 1877, Richard Wagner conducted the first half of each of the eight concerts which made up the Grand Wagner Festival. After his turn with the baton, he handed it over to conductor Hans Richter and sat in a large armchair on the corner of the stage for the rest of each concert. Wagner's wife Cosima, the daughter of Hungarian virtuoso pianist and composer Franz Liszt, was among the audience.

 

The Wine Society was founded at the Hall on the 4th. August 1874, after large quantities of cask wine were found in the cellars. A series of lunches were held to publicise the wines, and General Henry Scott proposed a co-operative company to buy and sell wines.

 

The Royal Albert Hall in the 1900's

 

In 1906 Elsie Fogerty founded the Central School of Speech and Drama at the Hall, using its West Theatre, now the Elgar Room. The school moved to Swiss Cottage in north London in 1957. Whilst the school was based at the Royal Albert Hall, students who graduated from its classes included Judi Dench, Vanessa Redgrave, Lynn Redgrave, Harold Pinter, Laurence Olivier and Peggy Ashcroft.

 

In 1911 Russian pianist and composer Sergei Rachmaninoff performed at the Hall. The recital included his 'Prelude in C-sharp minor' and 'Elegie in E-flat minor'.

 

In 1933 German physicist Albert Einstein led the 'Einstein Meeting' at the hall for the Council for Assisting Refugee Academics, a British charity.

 

In 1936, the Hall was the scene of a giant rally celebrating the British Empire on the occasion of the centenary of Joseph Chamberlain's birth.

 

In October 1942, the Hall suffered minor damage during World War II bombing, but in general was left mostly untouched as German pilots used the distinctive structure as a landmark.

 

In 1949 the canvas awning was removed and replaced with fluted aluminium panels below the glass roof, in a new attempt to cure the echo. However the acoustics were not properly tackled until 1969 when large fibreglass acoustic diffusing discs (commonly referred to as "mushrooms" or "flying saucers") were installed below the ceiling.

 

In 1968, the Hall hosted the Eurovision Song Contest, and from 1969–1988 the Miss World contest was staged at the venue.

 

In 1995, Greek keyboardist Yanni performed a concert there for his World Tour; the concert was recorded under the name of Live at Royal Albert Hall.

 

From 1996 until 2004, the Hall underwent a programme of renovation and development supported by a £20 million grant from the Heritage Lottery Fund and £20m from Arts Council England to enable it to meet the demands of the next century of events and performances.

 

Thirty "discreet projects" were designed and supervised by the architecture and engineering firm BDP without disrupting events. These projects included improved ventilation to the auditorium, more bars and restaurants, improved seating, better technical facilities, and improved backstage areas. Internally, the Circle seating was rebuilt during June 1996 to provide more legroom, better access, and improved sightlines.

 

The Royal Albert Hall in the 2000's

 

The largest project of the ongoing renovation and development was the building of a new south porch – door 12, accommodating a first-floor restaurant, a new ground floor box office and a below-ground loading bay.

 

Although the exterior of the building was largely unchanged, the south steps leading down to Prince Consort Road were demolished to allow the construction of underground vehicle access and a loading bay with accommodation for three HGVs carrying all the equipment brought by shows.

 

The steps were then reconstructed around a new south porch, named The Meitar Foyer after a significant donation from Mr & Mrs Meitar. The porch was built on a similar scale and style to the three pre-existing porches at Doors 3, 6 and 9: these works were undertaken by Taylor Woodrow.

 

The original steps featured in the early scenes of the 1965 film The Ipcress File. On the 4th. June 2004, the project received the Europa Nostra Award for remarkable achievement.

 

The East (Door 3) and West (Door 9) porches were glazed, and new bars opened along with ramps to improve disabled access. The Stalls were rebuilt in a four-week period in 2000 using steel supports, thereby allowing more space underneath for two new bars.

 

1,534 unique pivoting seats were installed, with an addition of 180 prime seats. The Choirs were rebuilt at the same time.

 

The whole building was redecorated in a style that reinforces its Victorian identity. 43,000 sq. ft (4,000 m2) of new carpets were laid in the rooms, stairs, and corridors – specially woven with a border that follows the oval curve of the building.

 

Between 2002 and 2004, there was a major rebuilding of the great organ (known as the Voice of Jupiter), built by "Father" Henry Willis in 1871 and rebuilt by Harrison & Harrison in 1924 and 1933.

 

The rebuilding was performed by Mander Organs, and it is now the second-largest pipe organ in the British Isles with 9,997 pipes in 147 stops. The largest is the Grand Organ in Liverpool Cathedral which has 10,268 pipes.

 

The Royal Albert Hall in the 2010's

 

During the first half of 2011, changes were made to the backstage areas in order to relocate and increase the size of crew catering areas under the South Steps away from the stage and to create additional dressing rooms nearer to the stage.

 

During the summer of 2012, the staff canteen and some changing areas were expanded and refurbished. From January to May the Box Office area at Door 12 underwent further modernisation to include a new Café Bar on the ground floor, a new Box Office with shop counters, and additional toilets.

 

Upon opening it was renamed 'The Zvi and Ofra Meitar Porch and Foyer.' owing to a large donation from the couple.

 

In Autumn 2013, work began on replacing the Victorian steam heating system over three years and improving and cooling across the building. This work followed the summer Proms season during which temperatures were unusually high.

 

From January the Cafe Consort on the Grand Tier was closed permanently in preparation for a new restaurant at a cost of £1 million. Verdi – Italian Kitchen was officially opened on the 15th. April with a lunch or dinner menu of stone baked pizzas, pasta, and classic desserts.

 

Design of The Royal Albert Hall

 

The Hall, a Grade I listed building, is an ellipse in plan, with its external major and minor axis of 272 and 236 feet (83 and 72 meters. The great glass and wrought-iron dome roofing the Hall is 135 ft (41 m) high.

 

Below the Arena floor there is room for two 4000 gallon water tanks, which are used for shows that flood the arena like Madame Butterfly.

 

The Hall was originally designed with a capacity for 8,000 people, and has accommodated as many as 12,000 (although present-day safety restrictions mean the maximum permitted capacity is now 5,272, including standing in the Gallery.

 

Around the outside of the building is an 800–foot–long terracotta mosaic frieze, depicting "The Triumph of Arts and Sciences", in reference to the Hall's dedication. Above the frieze is an inscription in 12-inch-high (30 cm) terracotta letters that combine historical fact and Biblical quotations:

 

"This hall was erected for the advancement

of the arts and sciences and works of industry

of all nations in fulfilment of the intention of

Albert Prince Consort.

The site was purchased with the proceeds of

the Great Exhibition of the year MDCCCLI.

The first stone of the Hall was laid by Her

Majesty Queen Victoria on the twentieth day

of May MDCCCLXVII and it was opened by Her

Majesty the Twenty Ninth of March in the year

MDCCCLXXI.

Thine O Lord is the greatness and the power

and the glory and the victory and the majesty.

For all that is in the heaven and in the earth is

Thine. The wise and their works are in the hand

of God. Glory be to God on high and on earth

peace".

 

Events at The Royal Albert Hall

 

The first concert at the Hall was Arthur Sullivan's cantata On Shore and Sea, performed on the 1st. May 1871.

 

Many events are promoted by the Hall, and since the early 1970's promoter Raymond Gubbay has brought a range of events to the Hall including opera, ballet and classical music.

 

Events also include rock concerts, conferences, banquets, ballroom dancing, poetry recitals, educational talks, motor shows, ballet, opera, film screenings and circus shows.

 

The Royal Albert Hall has hosted many sporting events, including boxing, squash, table tennis, basketball, wrestling (including the first Sumo wrestling tournament to be held in London) as well as UFC 38 (the first UFC event to be held in the UK), tennis, and even a marathon.

 

The Hall first hosted boxing in 1918, when it hosted a tournament between British and American servicemen. There was a colour bar in place at the Hall, preventing black boxers from fighting there, between 1923 and 1932.

 

Greats of British boxing such as Frank Bruno, Prince Naseem Hamed, Henry Cooper and Lennox Lewis have all appeared at the venue. The Hall's boxing history was halted in 1999 when a court ordered that boxing and wrestling matches could no longer be held at the venue. In 2011 that decision was overturned. In 2019 Nicola Adams won the WBO Flyweight title which was the first fight for a world title at the venue since Marco Antonio Barrera took on Paul Lloyd in 1999.

 

On the 6th. April 1968, the Hall hosted the Eurovision Song Contest which was broadcast in colour for the first time. The first Miss World contest broadcast in colour was also staged at the venue in 1969, and remained at the Hall every year until 1989.

 

One notable event was a Pink Floyd concert held on the 26th. June 1969. On that night they were banned from ever playing at the Hall again after shooting cannons, nailing things to the stage, and having a man in a gorilla suit roam the audience.

 

At one point, Rick Wright went to the pipe organ and began to play "The End of the Beginning", the final part of "Saucerful of Secrets", joined by the brass section of the Royal Philharmonic Orchestra (led by the conductor, Norman Smith) and the ladies of the Ealing Central Amateur Choir. A portion of the pipe organ recording is included on Pink Floyd's album The Endless River.

 

On the 18th. June 1985, British Gothic rock band The Sisters of Mercy recorded their live video album Wake at the Hall.

 

Between 1996 and 2008, the Hall hosted the annual National Television Awards, all of which were hosted by Sir Trevor McDonald.

 

Benefit concerts include the 1997 Music for Montserrat concert, arranged and produced by George Martin. The event featured artists such as Phil Collins, Mark Knopfler, Sting, Elton John, Eric Clapton, and Paul McCartney.

 

In 2006, Pink Floyd guitarist David Gilmour performed at the Hall for the first time since Pink Floyd's 1969 ban. He performed as part of his On an Island Tour. The shows were filmed and used for the live video release, Remember That Night (2007).

 

Rock band The Killers recorded their first live album, Live from the Royal Albert Hall in July 2009.

 

On the 5th. April 2010, Swedish progressive metal band Opeth recorded In Live Concert at the Royal Albert Hall, as they became the first Death metal band ever to perform at the Hall. The concert was part of the band's Evolution XX: An Opeth Anthology tour, made in celebration of their 20th. anniversary.

 

In July 2011, Janet Jackson performed three sold-out shows as part of her Number Ones, Up Close and Personal World Tour.

 

On the 2nd. October 2011, the Hall staged the 25th.-anniversary performance of Andrew Lloyd Webber's The Phantom of the Opera, which was broadcast live to cinemas across the world and filmed for DVD.

 

Lloyd Webber, the original London cast including Sarah Brightman and Michael Crawford, and four previous actors of the titular character, among others, were in attendance – Brightman and the previous Phantoms (aside from Crawford) performed an encore.

 

On the 22nd. September 2011, Adele performed a one-night-only concert as part of her tour. The concert was filmed for DVD, and screened at cinemas in 26 cities around the world.

 

Her performance debuted at number one in the United States with 96,000 copies sold, the highest one-week tally for a music DVD in four years. After one week, it became the best-selling music DVD of 2011. As of the 28th. November 2012, it had surpassed sales of one million copies in the United States and sales of three million copies worldwide.

 

It was the first music DVD to surpass sales of one million in the USA since the Eagles' Farewell 1 Tour-Live from Melbourne in 2005.

 

The 2012 Sunflower Jam charity concert featured Queen guitarist Brian May performing alongside bassist John Paul Jones of Led Zeppelin, drummer Ian Paice of Deep Purple, and vocalists Bruce Dickinson of Iron Maiden, and Alice Cooper.

 

On the 24th. September 2012, Classic FM celebrated the 20th. anniversary of their launch with a concert at the Hall. The program featured live performances of works by Handel, Puccini, Rachmaninoff, Parry, Vaughan Williams, Tchaikovsky and Karl Jenkins who conducted his piece The Benedictus from The Armed Man.

 

On the 19th. November 2012, the Hall hosted the 100th.-anniversary performance of the Royal Variety Performance, attended by the HM Queen Elizabeth II and HRH Duke of Edinburgh, with boy-band One Direction among the performers.

 

During his Rattle That Lock Tour, David Gilmour performed at the Royal Albert Hall eleven times between September 2015 and September 2016, once in aid of the Teenage Cancer Trust.

 

On the 13th. November 2015, Canadian musician Devin Townsend recorded his second live album Ziltoid Live at the Royal Albert Hall.

 

Kylie Minogue performed at the Royal Albert Hall on the 11th. December 2015 and the 9th. - 10th. December 2016 as part of her "A Kylie Christmas" concert series.

 

On the 3rd. May 2016, singer-songwriter and Soundgarden vocalist Chris Cornell played at the Hall in what would become the last UK show of his life as part of his "Higher Truth" European tour.

 

Cornell performed stripped-back acoustic renditions from his back-catalogue to rave reviews, including songs from the likes of Soundgarden, Temple of the Dog, Audioslave and his solo work. Cornell died on the 18th. May 2017.

 

On the 22nd. April 2016, British rock band Bring Me the Horizon performed and recorded their Live at the Royal Albert Hall album, with accompaniment from the Parallax Orchestra conducted by Simon Dobson.

 

At a press conference held at the Hall in October 2016, Phil Collins announced his return to live performing with his Not Dead Yet Tour, which began in June 2017. The tour included five nights at the Hall which sold out in fifteen seconds.

 

In October 2017, American rock band Alter Bridge also recorded a live album accompanied by the Parallax Orchestra with Simon Dobson.

 

Also in 2017, the Hall hosted the 70th. British Academy Film Awards, often referred to as the BAFTAs, for the first time in 20 years, replacing the Royal Opera House at which the event had been held since 2008.

 

In 2018, WWE held its second United Kingdom Championship Tournament on the 18th. and 19th. June.

 

Also in 2018, the world premiere of PlayStation in Concert was organised at the Hall. It featured PlayStation game music from the 1990's up until then. It was arranged by Jim Fowler and performed by the Royal Philharmonic Orchestra.

 

In May 2019, Mariah Carey performed 3 shows as part of her Caution World Tour. Comedian Bill Burr filmed his 2019 special Paper Tiger at the Hall. In November 2020, One Direction member Niall Horan performed a one off live-streamed show in an empty Hall (during the COVID-19 pandemic) to raise money for charity.

 

Regular Events at the Royal Albert Hall

 

The Royal Choral Society

 

The Royal Choral Society is the longest-running regular performer at the Hall, having given its first performance as the Royal Albert Hall Choral Society on the 8th. May 1872. From 1876, it established the annual Good Friday performance of Handel's Messiah.

 

BBC Proms

 

The BBC Sir Henry Wood Promenade Concerts, known as "The Proms", is a popular annual eight-week summer season of daily classical music concerts and other events at the Hall.

 

In 1942, following the destruction of the Queen's Hall in an air raid, the Hall was chosen as the new venue for the proms. In 1944 with increased danger to the Hall, part of the proms were held in the Bedford Corn Exchange.

 

Following the end of World War II the proms continued in the Hall, and have done so annually every summer since. The event was founded in 1895, and now each season consists of over 70 concerts, in addition to a series of events at other venues across the United Kingdom on the last night.

 

In 2009, the total number of concerts reached 100 for the first time. Jiří Bělohlávek described The Proms as:

 

"The world's largest and most

democratic musical festival".

 

Proms is a term which arose from the original practice of the audience promenading, or strolling, in some areas during the concert. Proms concert-goers, particularly those who stand, are sometimes described as "Promenaders", but are most commonly referred to as "Prommers".

 

Tennis

 

Tennis was first played at the Hall in March 1970, and the ATP Champions Tour Masters has been played annually every December since 1997.

 

Classical Spectacular

 

Classical Spectacular, a Raymond Gubbay production, has been coming to the Hall since 1988. It combines popular classical music, lights and special effects.

 

Cirque du Soleil

 

Cirque du Soleil has performed annually, with a show being staged every January, since 2003. Cirque has had to adapt many of their touring shows to perform at the venue, modifying the set, usually built for arenas or big top tents instead.

 

Classic Brit Awards

 

Since 2000, the Classic Brit Awards has been hosted annually in May at the Hall. It is organised by the British Phonographic Industry.

 

Festival of Remembrance

 

The Royal British Legion Festival of Remembrance is held annually the day before Remembrance Sunday.

 

Institute of Directors

 

For 60 years the Institute of Directors' Annual Convention has been synonymous with the Hall, although in 2011 and 2012 it was held at indigO2.

 

The English National Ballet

 

Since 1998 the English National Ballet has had several specially staged arena summer seasons in partnership with the Hall and Raymond Gubbay. These include Strictly Gershwin, June 2008 and 2011, Swan Lake, June 2002, 2004, 2007, 2010 and 2013, Romeo & Juliet, June 2001 and 2005, and The Sleeping Beauty, April - June 2000.

 

Teenage Cancer Trust

 

Starting in the year 2000 the Teenage Cancer Trust has held annual charity concerts (with the exception of 2001). They started as a one-off event, but have expanded over the years to a week or more of evening events. Roger Daltrey of the Who has been intimately involved with the planning of the events.

 

Graduation Ceremonies

 

The Hall is used annually by the neighbouring Imperial College London and the Royal College of Art for graduation ceremonies. For several years the University of London and Kingston University also held their graduation ceremonies at the Hall.

 

Films, Premières and Live Orchestra Screenings

 

The venue has screened several films since the early silent days. It was the only London venue to show William Fox's The Queen of Sheba in the 1920's.

 

The Hall has hosted many premières, including the UK première of Fritz Lang's Die Nibelungen, 101 Dalmatians on the 4th. December 1996, the European première of Spandau Ballet's Soul Boys of the Western World, and three James Bond royal world premières - Die Another Day on the 18th. November 2002 (attended by Queen Elizabeth II and Prince Philip), Skyfall on the 23rd. October 2012 (attended by Charles, Prince of Wales and Camilla, Duchess of Cornwall), and Spectre on the 26th. October 2015 (attended by Prince William, Duke of Cambridge and Catherine, Duchess of Cambridge).

 

The Hall held the first 3D world première of Titanic 3D, on the 27th. March 2012, with James Cameron and Kate Winslet in attendance.

 

Since 2009, the Hall has also curated regular seasons of English-language film-and-live-orchestra screenings, including The Lord of the Rings trilogy, Gladiator, Star Trek, Star Trek Into Darkness, Interstellar, The Matrix, West Side Story, Breakfast at Tiffany's, Back to the Future, Jaws, Harry Potter and the Chamber of Secrets, and the world première of Titanic Live in Concert.

 

The only non-English-language movie to have been screened at the Hall is Baahubali: The Beginning (an Indian movie in Telugu and Tamil, but premiered with the Hindi dubbed version).

 

National Brass Band Championships of Great Britain

 

The National Brass Band Championships of Great Britain, one of the most prestigious prizes in the annual brass band contesting calendar, holds the Final of the Championship section at the Royal Albert Hall each October.

 

Beyond the Main Stage

 

The Hall hosts hundreds of events and activities beyond its main auditorium. There are regular free art exhibitions in the ground floor Amphi corridor, which can be viewed when attending events or on dedicated viewing dates.

 

Visitors can take a guided tour of the Hall on most days. The most common is the one-hour Grand Tour which includes most front-of-house areas, the auditorium, the Gallery and the Royal Retiring Room.

 

Other tours include Story of the Proms, Behind the Scenes, Inside Out and School tours.

 

Children's events include Storytelling and Music Sessions for ages four and under. These take place in the Door 9 Porch and Albert's Band sessions in the Elgar Room during school holidays.

 

"Live Music in Verdi" takes place in the Italian restaurant on a Friday night featuring different artists each week.

 

"Late Night Jazz" events in the Elgar Room, generally on a Thursday night, feature cabaret-style seating and a relaxed atmosphere with drinks available.

 

"Classical Coffee Mornings" are held on Sundays in the Elgar Room with musicians from the Royal College of Music accompanied with drinks and pastries.

 

Sunday brunch events take place in Verdi Italian restaurant and feature different genres of music.

 

Regular Performers at the Royal Albert Hall

 

Eric Clapton is a regular performer at the Hall. Since 1964, Clapton has performed at the Hall over 200 times, and has stated that performing at the venue is: "Like playing in my front room".

 

In December 1964, Clapton made his first appearance at the Hall with the Yardbirds. It was also the venue for his band Cream's farewell concerts in 1968 and reunion shows in 2005. He also instigated the Concert for George, which was held at the Hall on the 29th. November 2002 to pay tribute to Clapton's lifelong friend, former Beatle George Harrison. Clapton passed 200 shows at the Hall in 2015.

 

David Gilmour played at the Hall in support of two solo albums, while also releasing a live concert on September 2006 entitled Remember That Night which was recorded during his three nights playing at the Hall for his 2006 On an Island tour.

 

Notable guests were Robert Wyatt and David Bowie (who sang lead for "Arnold Layne" and "Comfortably Numb"). The live concert was televised by BBC One on the 9th. September 2007.

 

Gilmour returned to the Hall for four nights in September 2016 (where he was joined on stage by Benedict Cumberbatch for "Comfortably Numb"), having previously played five nights in 2015, to end his 34-day Rattle That Lock Tour. He also made an appearance on the 24th. April 2016 as part of the Teenage Cancer Trust event.

 

Shirley Bassey is one of the Hall's most prolific female headline performers, having appeared many times at the Hall since the 1970's. In 2001, she sang "Happy Birthday" for the Duke of Edinburgh's 80th. birthday concert. In 2007, she sang at Fashion Rocks in aid of the Prince's Trust.

 

On the 30th. March 2011, she sang at a gala celebrating the 80th. birthday of Mikhail Gorbachev. In May 2011, she performed at the Classic Brit Awards, singing "Goldfinger" in tribute to the recently deceased composer John Barry. On the 20th. June 2011, she returned and sang "Diamonds Are Forever" and "Goldfinger", accompanied by the Royal Philharmonic Orchestra, as the climax to the memorial concert for Barry.

 

James Last appeared 90 times at the Hall between 1973 and 2015, making him the most frequent non–British performer to have played the venue.

 

Education and Outreach Programme

 

The Hall's education and outreach programme engages with more than 200,000 people a year. It includes workshops for local teenagers led by musicians such as Foals, Jake Bugg, Emeli Sandé, Nicola Benedetti, Alison Balsom and First Aid Kit, innovative science and maths lessons, visits to local residential homes from the venue's in-house group, Albert's Band, under the 'Songbook' banner, and the Friendship Matinee: an orchestral concert for community groups, with £5 admission.

 

Mis-labellings

 

A famous and widely bootlegged concert by Bob Dylan at the Free Trade Hall in Manchester on the 17th. May 1966 was mistakenly labelled the "Royal Albert Hall Concert".

 

In 1998, Columbia Records released an official recording, The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert. It maintains the erroneous title but does include details of the actual location.

 

Recordings from the Royal Albert Hall concerts on the 26th. and 27th. May 1966 were finally released by the artist in 2016 as The Real Royal Albert Hall 1966 Concert.

 

Another concert mislabelled as being at the Hall was by Creedence Clearwater Revival. An album by them entitled The Royal Albert Hall Concert was released in 1980. When Fantasy Records discovered the show on the album actually took place at the Oakland Coliseum, it retitled the album The Concert.

 

Pop Culture References

 

A large mural by Peter Blake, entitled Appearing at the Royal Albert Hall, is displayed in the Hall's Café Bar. Unveiled in April 2014, it shows more than 400 famous figures who have appeared on the stage.

 

In 1955, English film director Alfred Hitchcock filmed the climax of The Man Who Knew Too Much at the Hall. The 15-minute sequence featured James Stewart, Doris Day and composer Bernard Herrmann, and was filmed partly in the Queen's Box.

 

Hitchcock was a long-time patron of the Hall and had already set the finale of his 1927 film, The Ring at the Hall, as well as his initial version of The Man Who Knew Too Much, starring Leslie Banks, Edna Best and Peter Lorre.

 

Other notable films shot at the Hall include Major Barbara, Love Story, The Seventh Veil, The Ipcress File, A Touch of Class, Shine, and Spice World.

 

In the song "A Day in the Life" by the Beatles, the Albert Hall is mentioned. The verse goes as follows:

 

"I read the news today, oh boy

four thousand holes in Blackburn, Lancashire

and though the holes were rather small

they had to count them all

now they know how many holes it takes to fill the Albert Hall

I'd love to turn you on".

 

The song "Session Man" by The Kinks references the Hall:

 

"He never will forget at all

The day he played at Albert Hall".

 

In the song "Shame" by Robbie Williams and Gary Barlow, Barlow mentions the Hall in his verse:

 

"I read your mind and tried to call,

my tears could fill the Albert Hall".

 

'Like a Rolling Stone'

 

So what else happened on the day that Sarah posted the card?

 

Well, the 20th. July 1965 marked the release of 'Like a Rolling Stone'.

 

'Like a Rolling Stone' is a song by American singer-songwriter Bob Dylan, released by Columbia Records. Its confrontational lyrics originated in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a gruelling tour of England.

 

Dylan distilled this draft into four verses and a chorus. 'Like a Rolling Stone' was recorded a few weeks later as part of the sessions for the forthcoming album Highway 61 Revisited.

 

During a difficult two-day pre-production, Dylan struggled to find the essence of the song, which was demoed without success in 3/4 time. A breakthrough was made when it was tried in a rock music format, and rookie session musician Al Kooper improvised the organ riff for which the track is known.

 

Columbia Records were unhappy with both the song's length at over six minutes and its heavy electric sound, and were hesitant to release it.

 

It was only when, a month later, a copy was leaked to a new popular music club and heard by influential DJs that the song was put out as a single. Although radio stations were reluctant to play such a long track, 'Like a Rolling Stone' reached No. 2 in the US Billboard charts and became a worldwide hit.

 

Critics have described the track as revolutionary in its combination of different musical elements, the youthful, cynical sound of Dylan's voice, and the directness of the question "How does it feel?"

 

"Like a Rolling Stone" completed the transformation of Dylan's image from folk singer to rock star, and is considered one of the most influential compositions in postwar popular music.

 

According to review aggregator Acclaimed Music, 'Like a Rolling Stone' is the statistically most acclaimed song of all time.

 

Rolling Stone magazine listed the song at No. 1 in their "500 Greatest Songs of All Time" list. The song has been covered by many artists, from the Jimi Hendrix Experience and the Rolling Stones to the Wailers and Green Day.

 

At an auction in 2014, Dylan's handwritten lyrics to the song fetched $2 million, a world record for a popular music manuscript.

British Real Photograph postcard. Photo: London Film Production. Merle Oberon in The Private Life of Henry VIII (Alexander Korda, 1933).

 

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 the classics 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 though, 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 enamoured of the cinema 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. 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 (Rex Ingram, 1928) starring Alice Terry and Iván 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 (Zoltan Korda, Leontine Sagan, 1933) 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 (Alexander Korda, 1934) opposite Douglas Fairbanks Sr., and Lady Blakeney in The Scarlet Pimpernel (Harold Young, 1934) 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 (Sidney Franklin, 1935) 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 (William Wyler, 1936), 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. Next she appeared in Over the Moon (Thornton Freeland, 1936) with Rex Harrison, and The Divorce of Lady X (Tim Whelan, 1938). She was selected to star in Korda's epic film I, Claudius (Josef von Sternberg, 1937) 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 (William Wyler, 1939) opposite Laurence Olivier as Heathcliff. It would become her best-remembered performance.

 

The 1940s proved to be a very busy decade for Merle Oberon, as she appeared in no less than 15 films, including That Uncertain Feeling (Ernst Lubitsch, 1941), The Lodger (John Brahm, 1944) about Jack the Ripper, and A Song to Remember (Charles Vidor, 1945) 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 (Jacques Tourneur, 1948) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (Bernard Vorhaus, 1951). She then appeared as Empress Josephine in Désirée (Henry Koster, 1954) 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 to 1973). They adopted two children, Francesca Pagliai and Bruno Pagliai Jr. Her final film was Interval (Daniel Mann, 1973) which she also produced, and co-edited. According to Bruce Eder of AllMovie, it is “a strange romantic drama that co-starred 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 Robert Wolders, a Dutch actor, 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. She 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). This book was made into a TV miniseries, Queenie (1987) starring Mia Sara.

 

Sources: Brian McFarlane (Encyclopedia of British Film), Denny Jackson (IMDb), Bruce Eder (AllMovie), Turner Classic Movies, Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

Dutch postcard by Foto archief Film en Toneel, no. 3515. Photo: London Film Productions.

 

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 the classics 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 though, 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 enamoured of the cinema 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. 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 (Rex Ingram, 1928) starring Alice Terry and Iván 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 (Zoltan Korda, Leontine Sagan, 1933) 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 (Alexander Korda, 1934) opposite Douglas Fairbanks Sr., and Lady Blakeney in The Scarlet Pimpernel (Harold Young, 1934) 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 (Sidney Franklin, 1935) 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 (William Wyler, 1936), 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. Next she appeared in Over the Moon (Thornton Freeland, 1936) with Rex Harrison, and The Divorce of Lady X (Tim Whelan, 1938). She was selected to star in Korda's epic film I, Claudius (Josef von Sternberg, 1937) 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 (William Wyler, 1939) opposite Laurence Olivier as Heathcliff. It would become her best-remembered performance.

 

The 1940s proved to be a very busy decade for Merle Oberon, as she appeared in no less than 15 films, including That Uncertain Feeling (Ernst Lubitsch, 1941), The Lodger (John Brahm, 1944) about Jack the Ripper, and A Song to Remember (Charles Vidor, 1945) 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 (Jacques Tourneur, 1948) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (Bernard Vorhaus, 1951). She then appeared as Empress Josephine in Désirée (Henry Koster, 1954) 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 to 1973). They adopted two children, Francesca Pagliai and Bruno Pagliai Jr. Her final film was Interval (Daniel Mann, 1973) which she also produced, and co-edited. According to Bruce Eder of AllMovie, it is “a strange romantic drama that co-starred 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 Robert Wolders, a Dutch actor, 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. She 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). This book was made into a TV miniseries, Queenie (1987) starring Mia Sara.

 

Sources: Brian McFarlane (Encyclopedia of British Film), Denny Jackson (IMDb), Bruce Eder (AllMovie), Turner Classic Movies, Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

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

British Real Photograph postcard, no. 102c. Photo: London Films.

 

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 the classics 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 though, 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 cinema 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. 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 (Rex Ingram, 1928) starring Alice Terry and Iván 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 (Zoltan Korda, Leontine Sagan, 1933) 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 (Alexander Korda, 1934) opposite Douglas Fairbanks Sr., and Lady Blakeney in the The Scarlet Pimpernel (Harold Young, 1934) 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 (Sidney Franklin, 1935) 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 (William Wyler, 1936), 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. Next she appeared in Over the Moon (Thornton Freeland, 1936) with Rex Harrison, and The Divorce of Lady X (Tim Whelan, 1938). She was selected to star in Korda's epic film I, Claudius (Josef von Sternberg, 1937) 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 (William Wyler, 1939) opposite Laurence Olivier as Heathcliff. It would become her best remembered performance.

 

The 1940s proved to be a very busy decade for Merle Oberon, as she appeared in no less than 15 films, including That Uncertain Feeling (Ernst Lubitsch, 1941), The Lodger (John Brahm, 1944) about Jack the Ripper, and A Song to Remember (Charles Vidor, 1945) 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 (Jacques Tourneur, 1948) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (Bernard Vorhaus, 1951). She then appeared as Empress Josephine in Désirée (Henry Koster, 1954) 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 (Daniel Mann, 1973) which she also produced, and co-edited. According to Bruce Eder of AllMovie it is “a strange romantic drama that co-starred 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 Robert Wolders, a Dutch actor, 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). This book was made into a TV miniseries, Queenie (1987) starring Mia Sara.

 

Sources: Brian McFarlane (Encyclopedia of British Film), Denny Jackson (IMDb), Bruce Eder (AllMovie), Turner Classic Movies, Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

British postcard. Photo: Vitagraph. Caption: Read "The Pictures" weekly, 1 d."

 

American actor and comedian John Bunny (1863-1915) was considered the first true comedy star of the early American silent film era. He acted in over a hundred short comedies at Vitagraph, often with Flora Finch.

 

John Bunny was born in New York City, N.Y., in 1863. He grew up in Brooklyn, where he attended high school and worked as a grocery store clerk before joining a small minstrel show that toured the West Coast. He continued to combine his work as a stage manager for various companies with stage performances in vaudeville shows before being attracted to the then-nascent film industry. By 1909 he was already under contract to Vitagraph, and his character as a well-fed, carefree man quickly made him an international silent comedy star. With Vitagraph he took part in a series of more than a hundred comedies, forming a popular pair with actress Flora Finch, commonly identified as the "Bunnygraphs" or "Bunnyfinches". Other regulars in the Bunny comedies at Vitagraph were Charles Eldridge, William O'Shea, Hughie Mack, Wally Van, Lilian Walker, Julia Swayne Gordon, Edith Storey, and the future Hollywood stars Norma Talmadge and Clara Kimball Young. Laurence/Larry Trimble directed most of the comedy shorts, while also Fred. Thomson, Wilfrid North and George D. Baker directed. The London-based Saturday Review wrote about him in 1913: “When Mr. Bunny laughs, people from San Francisco to Stepney Green laugh with him. When he frowns, every kingdom of the earth is contracted in one brow of woe. His despair is incredible. His grief is unendurable. His wrath is apoplectic. His terror is the panic of a whole army.” That was a bit exaggerated, but Bunny's pantomime was greatly appreciated. In 1914 John Palmer wrote in the same magazine: "Mr. Bunny has an extensive and extremely flexible face. [...] We know at once why Mr. Bunny never speaks. He could not possibly find words to convey the extremity of his feelings."

 

Jack Lodge, in his study The Huge Appeal of John Bunny writes: “John Bunny was a natural for Mr. Pickwick, and in 1913 he played the part. Vitagraph had seen a chance to increase the already great popularity of Bunny in England by sending him to film there, accompanied by his usual director, Larry Trimble. The voyage across provided a film – Bunny All at Sea (1912) – in which Bunny was the only professional, other parts being taken by passengers. Vitagraph emerged with a useful comedy – Bunny posing as the Captain…Bunny being arrested and set to degrading menial work – and also saved a lot of money.” The film The Pickwick Papers, a three-reeler by Laurence Trimble based on Charles Dicken's classic tale, was released by Vitagraph in 1913 and had Arthur Ricketts as the antagonist Mr. Jingle. A sequel was also produced: The Adventure of the Shooting Party, again with Bunny and Ricketts, directed by Trimble and based on Dickens. Despite what the Italian Wikipedia writes, Bunny's comedy was not slapstick, crass and circus-inspired but polite, middle-class, situational comedy, often situated in domestic settings. Unfortunately, Bunny was disliked by most of her fellow actors at Vitagraph, including Finch herself. Interviews conducted by Anthony Slide in the 1960s and 1970s with former employees of the company revealed that they found him arrogant, short-tempered and generally difficult to work with, a picture in complete contrast to the image of him that is remembered on screen.

 

In 1890, John Bunny married Clara Scallan, with whom he had two sons, George and John Jr, who also later became actors. His brother George Bunny was also an actor. Bunny, whose career only took five years, died of kidney disease in 1915. He was buried at the Cemetery of the Evergreens in Brooklyn. Thanks to the fact that silent films knew no language barriers and to his great popularity, the news of his death occupied the front pages of both American and European newspapers. After his death, the technological advances and innovations brought about by the possibility of performing acrobatic acts soon brought new stars into the world of silent comedy and Bunny was almost completely forgotten. However, for his great contribution to the development of the film industry, a star has been dedicated to him on the Hollywood Walk of Fame at 1715 Vine Street. Several of the Bunny and Finch comedies have been found in the Desmet Collection of the Eye Filmmuseum (Netherlands) and can be found on Eye's YouTube section, such as Stenographer's Troubles, A Stenographer Wanted, Mr. Bolter's Infatuation, Bunny's Suicide, Bunny in Disguise, Pumps, Freckles, Troublesome Stepdaughters, Those Troublesome Tresses, Doctor Bridget, The Pickpocket, and Tangled Tangoists.

 

Sources: Wikipedia (Italian and English ), IMDb.

 

And, please check out our blog European Film Star Postcards.

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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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.

 

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Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.

 

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White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.

 

Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.

 

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Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

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

 

www.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

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

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Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.

 

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Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.

 

Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.

Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.

 

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Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.

 

Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.

Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.

  

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

-------

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

 

www.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

 

The Postcard

 

A postcard bearing no publisher's name that was posted in Par, Cornwall using a 1d. stamp on Monday the 25th. August 1930. It was sent to:

 

C. F. Baker Esq.,

'Hedgerow',

Russell Grove,

Westbury Park,

Bristol.

 

The message on the divided back of the card was as follows:

 

"Sunday.

35, Par Green,

Par, Cornwall.

Dear Mr. & Mrs. Baker,

This is as quiet a place as

anyone could wish for - a

beautiful little bay & nice

sands.

We have the use of a hut

on the beach.

The Westermans wanted

me to preach, but I fear I

could not have stood in my

own pulpit today.

We have been thinking of

you all, and hope you are

having a good day.

Love to all from both,

S & B."

 

Kingswear

 

Kingswear is a village in the South Hams area of Devon. The village is located on the east bank of the tidal River Dart, close to the river's mouth, and opposite the small town of Dartmouth. It lies within the South Devon Area of Outstanding Natural Beauty, and has a population of 1,332.

 

Kingswear is noted for being the railhead for Dartmouth, a role continued to this day by the presence of the Paignton and Dartmouth Steam Railway in the village. Two vehicle ferries and one pedestrian ferry provide links to Dartmouth.

 

The village itself contains several small tourist-oriented shops and public houses, and is home to the Royal Dart Yacht Club. Kingswear Castle, a privately owned 15th. century artillery tower, is situated on the outskirts.

 

Kingswear also contains the Church of St. Thomas, which is a member of the Anglican Diocese of Exeter and whose patron saint is Saint Thomas of Canterbury.

 

Sir Sean Connery

 

So what else happened on the day that the card was posted?

 

Well, the 25th. August 1930 marked the birth in Edinburgh of Sean Connery.

 

Sir Sean Connery, who was born Thomas Sean Connery, was a Scottish actor. He was the first actor to portray fictional British secret agent James Bond on film, starring in seven Bond films between 1962 and 1983.

 

Originating the role in Dr. No, Connery played Bond in six of Eon Productions' entries, and made his final Bond appearance in the non-Eon-produced Never Say Never Again.

 

If non-Eon-produced Bond movies are included, Connery shares the record for the most portrayals as James Bond with Roger Moore (with seven apiece).

 

Following Sean's third appearance as Bond in Goldfinger (1964), in June 1965, Time magazine observed:

 

"James Bond has developed into the

biggest mass-cult hero of the decade".

 

Connery began acting in smaller theatre and television productions until his break-out role as Bond. Although he did not enjoy the off-screen attention the role gave him, the success of the Bond films brought Connery offers from notable directors such as Alfred Hitchcock, Sidney Lumet and John Huston.

 

Their films in which Connery appeared included Marnie (1964), The Hill (1965), Murder on the Orient Express (1974), and The Man Who Would Be King (1975).

 

He also appeared in A Bridge Too Far (1977), Highlander (1986), The Name of the Rose (1986), The Untouchables (1987), Indiana Jones and the Last Crusade (1989), The Hunt for Red October (1990), Dragonheart (1996), The Rock (1996), Finding Forrester (2000), and The League of Extraordinary Gentlemen (2003).

 

Connery officially retired from acting in 2006, although he briefly returned for voice-over roles in 2012.

 

His achievements in film were recognised with an Academy Award, two BAFTA Awards (including the BAFTA Fellowship), and three Golden Globes, including the Cecil B. DeMille Award and a Henrietta Award.

 

In 1987, Sean was made a Commander of the Order of Arts and Letters in France, and he received the US Kennedy Center Honors lifetime achievement award in 1999. Connery was knighted in the 2000 New Year Honours for services to film drama.

 

Sean Connery - The Early Years

 

Thomas Connery was born at the Royal Maternity Hospital in Edinburgh, Scotland. He was named after his paternal grandfather.

 

He was brought up at No. 176 Fountainbridge, a block which has since been demolished. His mother, Euphemia McBain "Effie" McLean, was a cleaning woman. Connery's father, Joseph Connery, was a factory worker and lorry driver.

 

His father was a Roman Catholic, and his mother was a Protestant. Connery had a younger brother Neil, and was generally referred to in his youth as "Tommy".

 

Although Sean was small in primary school, he grew rapidly around the age of 12, reaching his full adult height of 6 ft. 2 in. (188 cm) at 18. Connery was known during his teen years as "Big Tam", and he said that he lost his virginity to an adult woman in an ATS uniform at the age of 14.

 

He had an Irish childhood friend named Séamus; when the two were together, those who knew them both called Connery by his middle name Sean, emphasising the alliteration of the two names. Since then Connery preferred to use his middle name.

 

Connery's first job was as a milkman in Edinburgh with St. Cuthbert's Co-operative Society. In 2009, Connery recalled a conversation in a taxi:

 

"When I took a taxi during a recent Edinburgh

Film Festival, the driver was amazed that I

could put a name to every street we passed.

"How come?" he asked. "As a boy I used to

deliver milk round here", I said. "So what do

you do now?" That was rather harder to

answer."

 

In 1946, at the age of 16, Connery joined the Royal Navy, during which time he acquired two tattoos. Connery's official website says:

 

"Unlike many tattoos, his were not frivolous –

his tattoos reflect two of his lifelong

commitments: his family and Scotland. One

tattoo is a tribute to his parents, and reads

'Mum and Dad', and the other is self-explanatory,

'Scotland Forever'".

 

Sean trained in Portsmouth at the naval gunnery school and in an anti-aircraft crew. He was later assigned as an Able Seaman on HMS Formidable.

 

Connery was discharged from the navy at the age of 19 on medical grounds because of a duodenal ulcer, a condition that affected most of the males in previous generations of his family.

 

Afterwards, he returned to the Co-op and worked as a lorry driver, a lifeguard at Portobello swimming baths, a labourer, an artist's model for the Edinburgh College of Art, and after a suggestion by former Mr. Scotland Archie Brennan, as a coffin polisher, among other jobs.

 

The modelling earned him 15 shillings an hour. Artist Richard Demarco, at the time a student who painted several early pictures of Connery, described him as:

 

"Very straight, slightly shy, too,

too beautiful for words, a virtual

Adonis".

 

Connery began bodybuilding at the age of 18, and from 1951 trained heavily with Ellington, a former gym instructor in the British Army. While his official website states he was third in the 1950 Mr. Universe contest, most sources place him in the 1953 competition, either third in the Junior class or failing to place in the Tall Man classification.

 

Connery said that he was soon deterred from bodybuilding when he found that Americans frequently beat him in competitions because of sheer muscle size and, unlike Connery, refused to participate in athletic activity which could make them lose muscle mass.

 

Connery was a keen footballer, having played for Bonnyrigg Rose in his younger days. He was offered a trial with East Fife.

 

While on tour with South Pacific, Connery played in a football match against a local team that Matt Busby, manager of Manchester United, happened to be scouting. According to reports, Busby was impressed with Sean's physical prowess, and offered Connery a contract worth £25 a week (equivalent to £743 in 2021) immediately after the game. Connery said he was tempted to accept, but he recalls,

 

"I realised that a top-class footballer could

be over the hill by the age of 30, and I was

already 23. I decided to become an actor,

and it turned out to be one of my more

intelligent moves".

 

Sean Connery's Acting Career

 

(a) Pre-James Bond

 

Seeking to supplement his income, Connery helped out backstage at the King's Theatre in late 1951. During a bodybuilding competition held in London in 1953, one of the competitors mentioned that auditions were being held for a production of South Pacific, and Connery landed a small part as one of the Seabees chorus boys.

 

By the time the production reached Edinburgh, he had been given the part of Marine Cpl. Hamilton Steeves, and was understudying two of the juvenile leads, and his salary was raised from £12 to £14–10s a week.

 

The production returned the following year, out of popular demand, and Connery was promoted to the featured role of Lieutenant Buzz Adams, which Larry Hagman had portrayed in the West End.

 

While in Edinburgh, Connery was targeted by the Valdor gang, one of the most violent in the city. He was first approached by them in a billiard hall where he prevented them from stealing his jacket and was later followed by six gang members to a 15-foot-high (4.6 m) balcony at the Palais de Danse.

 

There, Connery singlehandedly launched an attack against the gang members, grabbing one by the throat and another by the biceps and cracking their heads together. From then on, he was treated with great respect by the gang and gained a reputation as a "hard man".

 

Connery first met Michael Caine at a party during the production of South Pacific in 1954, and the two later became close friends. During this production at the Opera House, Manchester, over the Christmas period of 1954, Connery developed a serious interest in the theatre through American actor Robert Henderson, who lent him copies of the Ibsen works Hedda Gabler, The Wild Duck, and When We Dead Awaken, and later listed works by the likes of Proust, Tolstoy, Turgenev, Bernard Shaw, Joyce, and Shakespeare for him to digest.

 

Henderson urged Sean to take elocution lessons, and got him parts at the Maida Vale Theatre in London. He had already begun a film career, having been an extra in Herbert Wilcox's 1954 musical Lilacs in the Spring alongside Errol Flynn and Anna Neagle.

 

Although Connery had secured several roles as an extra, he was struggling to make ends meet, and was forced to accept a part-time job as a babysitter for journalist Peter Noble and his actress wife Marianne, which earned him 10 shillings a night.

 

One night at Noble's house Sean met Hollywood actress Shelley Winters, who described Connery as:

 

"One of the tallest and most charming

and masculine Scotsmen I have ever

seen."

 

Shelley later spent many evenings with the Connery brothers drinking beer. Around this time, Connery was residing at TV presenter Llew Gardner's house.

 

Henderson landed Connery a role in a £6 a week Q Theatre production of Agatha Christie's Witness for the Prosecution, during which he met and became friends with fellow Scot Ian Bannen.

 

This role was followed by Point of Departure and A Witch in Time at Kew, a role as Pentheus opposite Yvonne Mitchell in The Bacchae at the Oxford Playhouse, and a role opposite Jill Bennett in Eugene O'Neill's play Anna Christie.

 

During his time at the Oxford Theatre, Connery won a brief part as a boxer in the TV series The Square Ring, before being spotted by Canadian director Alvin Rakoff, who gave him multiple roles in The Condemned, shot on location in Dover in Kent.

 

In 1956, Connery appeared in the theatrical production of Epitaph, and played a minor role as a hoodlum in the "Ladies of the Manor" episode of the BBC Television police series Dixon of Dock Green.

 

This was followed by small television parts in Sailor of Fortune and The Jack Benny Program (in a special episode filmed in Europe).

 

In early 1957, Connery hired agent Richard Hatton, who got him his first film role, as Spike, a minor gangster with a speech impediment in Montgomery Tully's No Road Back.

 

In April 1957, Rakoff – after being disappointed by Jack Palance – decided to give the young actor his first chance in a leading role, and cast Connery as Mountain McLintock in BBC Television's production of Requiem for a Heavyweight, which also starred Warren Mitchell and Jacqueline Hill.

 

Sean then played a rogue lorry driver, Johnny Yates, in Cy Endfield's Hell Drivers (1957) alongside Stanley Baker, Herbert Lom, Peggy Cummins, and Patrick McGoohan.

 

Later in 1957, Connery appeared in Terence Young's poorly received MGM action picture Action of the Tiger; the film was shot on location in southern Spain.

 

He also had a minor role in Gerald Thomas's thriller Time Lock (1957) as a welder, appearing alongside Robert Beatty, Lee Patterson, Betty McDowall, and Vincent Winter. This commenced filming on the 1st. December 1956 at Beaconsfield Studios.

 

Connery had a major role in the melodrama Another Time, Another Place (1958) as a British reporter named Mark Trevor, caught in a love affair opposite Lana Turner and Barry Sullivan.

 

During filming, Turner's possessive gangster boyfriend, Johnny Stompanato, who was visiting from Los Angeles, believed she was having an affair with Connery. Connery and Turner had attended West End shows and London restaurants together.

 

Stompanato stormed onto the film set and pointed a gun at Connery, only to have Connery disarm him and knock him flat on his back. Stompanato was banned from the set. Two Scotland Yard detectives advised Stompanato to leave and escorted him to the airport, where he boarded a plane back to the United States.

 

Connery later recounted that he had to lay low for a while after receiving threats from men linked to Stompanato's boss, Mickey Cohen.

 

In 1959, Connery landed a leading role in director Robert Stevenson's Walt Disney Productions film Darby O'Gill and the Little People (1959). The film is a tale about a wily Irishman and his battle of wits with leprechauns.

 

Upon the film's initial release, A. H. Weiler of The New York Times praised the cast (save Connery whom he described as "merely tall, dark, and handsome") and thought the film:

 

"An overpoweringly charming concoction

of standard Gaelic tall stories, fantasy and

romance."

 

Sean also had prominent television roles in Rudolph Cartier's 1961 productions of Adventure Story and Anna Karenina for BBC Television, co-starring with Claire Bloom in the latter.

 

Also in 1961 he portrayed the title role in a CBC television film adaptation of Shakespeare's Macbeth with Australian actress Zoe Caldwell cast as Lady Macbeth.

 

(b) James Bond: 1962–1971, 1983

 

Connery's breakthrough came in the role of British secret agent James Bond. He was reluctant to commit to a film series, but understood that if the films succeeded, his career would greatly benefit.

 

Between 1962 and 1967, Connery played 007 in Dr. No, From Russia with Love, Goldfinger, Thunderball, and You Only Live Twice, the first five Bond films produced by Eon Productions.

 

After departing from the role, Connery returned for the seventh film, Diamonds Are Forever, in 1971. Connery made his final appearance as Bond in Never Say Never Again, a 1983 remake of Thunderball produced by Jack Schwartzman's Taliafilm.

 

All seven films were commercially successful. James Bond, as portrayed by Connery, was selected as the third-greatest hero in cinema history by the American Film Institute.

 

Connery's selection for the role of James Bond owed a lot to Dana Broccoli, wife of producer Albert "Cubby" Broccoli, who is reputed to have been instrumental in persuading her husband that Connery was the right man.

 

James Bond's creator, Ian Fleming, originally doubted Connery's casting, saying:

 

"He's not what I envisioned of James

Bond looks. I'm looking for Commander

Bond and not an overgrown stunt-man."

 

He added that Connery (muscular, 6' 2", and a Scot) was unrefined. However Fleming's girlfriend Blanche Blackwell told Fleming that Connery had the requisite sexual charisma, and Fleming changed his mind after the successful Dr. No première.

 

He was so impressed, he wrote Connery's heritage into the character. In his 1964 novel You Only Live Twice, Fleming wrote that Bond's father was Scottish and from Glencoe in the Scottish Highlands.

 

Connery's portrayal of Bond owes much to stylistic tutelage from director Terence Young, who helped polish him while using his physical grace and presence for the action.

 

Lois Maxwell, who played Miss Moneypenny, related that:

 

"Terence took Sean under his wing.

He took him to dinner, showed him

how to walk, how to talk, even how

to eat".

 

The tutoring was successful; Connery received thousands of fan letters a week after Dr. No's opening, and he became a major sex symbol in film.

 

Following the release of the film Dr. No in 1962, the line "Bond ... James Bond", became a catch phrase in the lexicon of Western popular culture. Film critic Peter Bradshaw writes:

 

"It is the most famous self-introduction

from any character in movie history.

Three cool monosyllables, surname first,

a little curtly, as befits a former naval

commander.

And then, as if in afterthought, the first

name, followed by the surname again.

Connery carried it off with icily disdainful

style, in full evening dress with a cigarette

hanging from his lips.

The introduction was a kind of challenge,

or seduction, invariably addressed to an

enemy.

In the early 60's, Connery's James Bond

was about as dangerous and sexy as it

got on screen."

 

During the filming of Thunderball in 1965, Connery's life was in danger in the sequence with the sharks in Emilio Largo's pool. He had been concerned about this threat when he read the script.

 

Connery insisted that Ken Adam build a special Plexiglas partition inside the pool, but this was not a fixed structure, and one of the sharks managed to pass through it. He had to abandon the pool immediately.

 

(c) Post-James Bond

 

Although Bond had made him a star, Connery grew tired of the role and the pressure the franchise put on him, saying:

 

"I am fed up to here with the whole

Bond bit. I have always hated that

damned James Bond. I'd like to kill

him."

 

Michael Caine said of the situation:

 

"If you were his friend in these early

days you didn't raise the subject of

Bond. He was, and is, a much better

actor than just playing James Bond,

but he became synonymous with

Bond. He'd be walking down the

street and people would say,

'Look, there's James Bond'.

That was particularly upsetting

to him."

 

While making the Bond films, Connery also starred in other films such as Alfred Hitchcock's Marnie (1964) and Sidney Lumet's The Hill (1965), which film critic Peter Bradshaw regards as his two great non-Bond pictures from the 1960's.

 

In Marnie, Connery starred opposite Tippi Hedren. Connery had said he wanted to work with Hitchcock, which Eon arranged through their contacts. Connery shocked many people at the time by asking to see a script, something he did because he was worried about being typecast as a spy, and he did not want to do a variation of North by Northwest or Notorious.

 

When told by Hitchcock's agent that Cary Grant had not asked to see even one of Hitchcock's scripts, Connery replied:

 

"I'm not Cary Grant."

 

Hitchcock and Connery got on well during filming, and Connery said he was happy with the film "with certain reservations".

 

In The Hill, Connery wanted to act in something that wasn't Bond related, and he used his leverage as a star to feature in it. While the film wasn't a financial success, it was a critical one, debuting at the Cannes Film Festival and winning Best Screenplay.

 

The first of five films he made with Lumet, Connery considered him to be one of his favourite directors. The respect was mutual, with Lumet saying of Connery's performance in The Hill:

 

"The thing that was apparent to me –

and to most directors – was how much

talent and ability it takes to play that

kind of character who is based on charm

and magnetism.

It's the equivalent of high comedy, and

he did it brilliantly."

 

In the mid-1960's, Connery played golf with Scottish industrialist Iain Maxwell Stewart, a connection which led to Connery directing and presenting the documentary film The Bowler and the Bunnet in 1967.

 

The film described the Fairfield Experiment, a new approach to industrial relations carried out at the Fairfield Shipbuilding and Engineering Company, Glasgow, during the 1960s; the experiment was initiated by Stewart and supported by George Brown, the First Secretary in Harold Wilson's cabinet, in 1966.

 

The company was facing closure, and Brown agreed to provide £1 million (£13.135 million; US$15.55 million in 2021 terms) to enable trade unions, the management and the shareholders to try out new ways of industrial management.

 

Having played Bond six times, Connery's global popularity was such that he shared a Golden Globe Henrietta Award with Charles Bronson for "World Film Favorite – Male" in 1972.

 

He appeared in John Huston's The Man Who Would Be King (1975) opposite Michael Caine. Playing two former British soldiers who set themselves up as kings in Kafiristan, both actors regarded it as their favourite film.

 

The same year, Sean appeared in The Wind and the Lion opposite Candice Bergen who played Eden Perdicaris (based on the real-life Perdicaris incident), and in 1976 played Robin Hood in Robin and Marian opposite Audrey Hepburn.

 

Film critic Roger Ebert, who had praised the double act of Connery and Caine in The Man Who Would Be King, praised Connery's chemistry with Hepburn, writing:

 

"Connery and Hepburn seem to have

arrived at a tacit understanding

between themselves about their

characters. They glow. They really

do seem in love."

 

During the 1970's, Connery was part of ensemble casts in films such as Murder on the Orient Express (1974) with Vanessa Redgrave and John Gielgud, and played a British Army general in Richard Attenborough's war film A Bridge Too Far (1977), co-starring with Dirk Bogarde and Laurence Olivier.

 

In 1974, he starred in John Boorman's sci-fi thriller Zardoz. Often called one of the weirdest and worst movies ever made, it featured Connery in a scarlet mankini – a revealing costume which generated much controversy for its unBond-like appearance.

 

Despite being panned by critics at the time, the film has developed a cult following since its release. In the audio commentary to the film, Boorman relates how Connery would write poetry in his free time, describing him as:

 

"A man of great depth and intelligence,

as well as possessing the most

extraordinary memory."

 

In 1981, Connery appeared in the film Time Bandits as Agamemnon. The casting choice derives from a joke Michael Palin included in the script, which describes the character's removing his mask and being:

 

"Sean Connery – or someone

of equal but cheaper stature".

 

When shown the script, Connery was happy to play the supporting role.

 

In 1981 he portrayed Marshal William T. O'Niel in the science fiction thriller Outland. In 1982, Connery narrated G'olé!, the official film of the 1982 FIFA World Cup.

 

That same year, he was offered the role of Daddy Warbucks in Annie, going as far as taking voice lessons for the John Huston musical before turning down the part.

 

Connery agreed to reprise Bond as an ageing agent 007 in Never Say Never Again, released in October 1983. The title, contributed by his wife, refers to his earlier statement that he would "never again" return to the role.

 

Although the film performed well at the box office, it was plagued with production problems: strife between the director and producer, financial problems, the Fleming estate trustees' attempts to halt the film, and Connery's wrist being broken by the fight choreographer, Steven Seagal.

 

As a result of his negative experiences during filming, Connery became unhappy with the major studios, and did not make any films for two years. Following the successful European production The Name of the Rose (1986), for which he won a BAFTA Award for Best Actor, Connery's interest in more commercial material was revived.

 

That same year, a supporting role in Highlander showcased his ability to play older mentors to younger leads, which became a recurring role in many of his later films.

 

In 1987, Connery starred in Brian De Palma's The Untouchables, where he played a hard-nosed Irish-American cop alongside Kevin Costner's Eliot Ness. The film also starred Andy Garcia and Robert De Niro as Al Capone.

 

The film was a critical and box-office success. Many critics praised Connery for his performance, including Roger Ebert, who wrote:

 

"The best performance in the movie

is Connery. He brings a human element

to his character; he seems to have had

an existence apart from the legend of

the Untouchables, and when he's

onscreen we can believe, briefly, that

the Prohibition Era was inhabited by

people, not caricatures."

 

For his performance, Connery received the Academy Award for Best Supporting Actor.

 

Connery starred in Steven Spielberg's Indiana Jones and the Last Crusade (1989), playing Henry Jones Sr., the title character's father, and received BAFTA and Golden Globe Award nominations. Harrison Ford said Connery's contributions at the writing stage enhanced the film:

 

"It was amazing for me in how far he got

into the script and went after exploiting

opportunities for character.

His suggestions to George Lucas at the

writing stage really gave the character

and the picture a lot more complexity

and value than it had in the original

screenplay.

 

Sean's subsequent box-office hits included The Hunt for Red October (1990), The Russia House (1990), The Rock (1996), and Entrapment (1999). In 1996, he voiced the role of Draco the dragon in the film Dragonheart.

 

He also appeared in a brief cameo as King Richard the Lionheart at the end of Robin Hood: Prince of Thieves (1991). In 1998, Connery received the BAFTA Fellowship, a lifetime achievement award from the British Academy of Film and Television Arts.

 

Connery's later films included several box-office and critical disappointments such as First Knight (1995), Just Cause (1995), The Avengers (1998), and The League of Extraordinary Gentlemen (2003).

 

The failure of The League of Extraordinary Gentlemen was especially frustrating for Connery. He sensed during shooting that the production was "going off the rails", and announced that the director, Stephen Norrington should be "locked up for insanity".

 

Connery spent considerable effort in trying to salvage the film through the editing process, ultimately deciding to retire from acting rather than go through such stress ever again.

 

However, he received positive reviews for his performance in Finding Forrester (2000). He also received a Crystal Globe for outstanding artistic contribution to world cinema.

 

In a 2003 UK poll conducted by Channel 4, Connery was ranked eighth on their list of the 100 Greatest Movie Stars.

 

Connery turned down the role of Gandalf in The Lord of the Rings films, saying he did not understand the script. He was reportedly offered US$30 million along with 15% of the worldwide box office receipts, which would have earned him US$450 million.

 

He also turned down the opportunity to appear as Albus Dumbledore in the Harry Potter series and the Architect in The Matrix trilogy.

 

In 2005, he recorded voiceovers for the From Russia with Love video game with recording producer Terry Manning in the Bahamas, and provided his likeness. Connery said he was happy the producers, Electronic Arts, had approached him to voice Bond.

 

(d) Retirement

 

When Connery received the American Film Institute's Lifetime Achievement Award on the 8th. June 2006, he confirmed his retirement from acting.

 

Connery's disillusionment with the "idiots now making films in Hollywood" was cited as a reason for his decision to retire.

 

On the 7th. June 2007, he denied rumours that he would appear in the fourth Indiana Jones film, saying:

 

"Retirement is just too

much damned fun."

 

In 2010, a bronze bust sculpture of Connery was placed in Tallinn, Estonia, outside The Scottish Club, whose membership includes Estonian Scotophiles and a handful of expatriate Scots.

 

In 2012, Connery briefly came out of retirement to voice the title character in the Scottish animated film Sir Billi. Connery served as executive producer for an expanded 80-minute version.

 

Sean Connery's Personal Life

 

During the production of South Pacific in the mid-1950's, Connery dated a Jewish "dark-haired beauty with a ballerina's figure", Carol Sopel, but was warned off by her family.

 

He then dated Julie Hamilton, daughter of documentary filmmaker and feminist Jill Craigie. Given Connery's rugged appearance and rough charm, Hamilton initially thought he was an appalling person and was not attracted to him until she saw him in a kilt, declaring him to be the most beautiful thing she had ever seen in her life.

 

He also shared a mutual attraction with jazz singer Maxine Daniels, whom he met whilst working in theatre. He made a pass at her, but she told him she was already happily married with a daughter.

 

Connery was married to actress Diane Cilento from 1962 to 1974, though they separated in 1971. They had a son, actor Jason Joseph. Connery was separated in the early 1970's when he dated Dyan Cannon, Jill St. John, Lana Wood, Carole Mallory, and Magda Konopka.

 

In her 2006 autobiography, Cilento alleged that he had abused her mentally and physically during their relationship. Connery cancelled an appearance at the Scottish Parliament in 2006 because of controversy over his alleged support of abuse of women.

 

He denied claims that he told Playboy magazine in 1965:

 

"I don't think there is anything

particularly wrong in hitting a

woman, though I don't

recommend you do it in the

same way you hit a man".

 

He was also reported to have stated to Vanity Fair in 1993:

 

"There are women who take it

to the wire. That's what they are

looking for, the ultimate

confrontation. They want a smack."

 

In 2006, Connery told The Times of London:

 

"I don't believe that any level of

abuse of women is ever justified

under any circumstances. Full stop".

 

When knighted by Queen Elizabeth II in 2000 he wore a green-and-black hunting tartan kilt of his mother's MacLean clan.

 

Connery was married to French-Moroccan painter Micheline Roquebrune (born 4th. April 1929) from 1975 until his death. The marriage survived a well-documented affair Connery had in the late 1980's with the singer and songwriter Lynsey de Paul, which she later regretted due to his views concerning domestic violence.

 

Connery owned the Domaine de Terre Blanche in the South of France from 1979. He sold it to German billionaire Dietmar Hopp in 1999.

 

He was awarded an honorary rank of Shodan (1st. dan) in Kyokushin karate.

 

Connery relocated to the Bahamas in the 1990's; he owned a mansion in Lyford Cay on New Providence.

 

Connery had a villa in Kranidi, Greece. His neighbour was King Willem-Alexander of the Netherlands, with whom he shared a helicopter platform.

 

Growing up, Connery supported the Scottish football club Celtic F.C., having been introduced to the club by his father who was a lifelong fan of the team.

 

Later in life, Connery switched his loyalty to Celtic's bitter rival, Rangers F.C., after he became close friends with the team's chairman, David Murray.

 

Sean was a keen golfer, and English professional golfer Peter Alliss gave Connery golf lessons before the filming of the 1964 James Bond film Goldfinger, which involved a scene where Connery, as Bond, played golf against gold magnate Auric Goldfinger at Stoke Park Golf Club in Buckinghamshire.

 

The golf scene saw him wear a Slazenger v-neck sweater, a brand which Connery became associated with while playing golf in his free time, with a light grey marl being a favoured colour.

 

Record major championship winner and golf course designer Jack Nicklaus said:

 

"He loved the game of golf – Sean

was a pretty darn good golfer! –

and we played together several

times.

In May 1993, Sean and legendary

driver Jackie Stewart helped me

open our design of the PGA

Centenary Course at Gleneagles

in Scotland."

 

Sean Connery's Political Views

 

Connery's Scottish roots and his experiences in filming in Glasgow's shipyards in 1966 inspired him to become a member of the centre-left Scottish National Party (SNP), which supports Scottish independence from the United Kingdom.

 

In 2011, Connery said:

 

"The Bowler and the Bunnet was just

the beginning of a journey that would

lead to my long association with the

Scottish National Party."

 

Connery supported the party both financially and through personal appearances. In 1967, he wrote to George Leslie, the SNP candidate in the 1967 Glasgow Pollok by-election, saying:

 

"I am convinced that with our resources

and skills we are more than capable of

building a prosperous, vigorous and

modern self-governing Scotland in which

we can all take pride and which will

deserve the respect of other nations."

 

His funding of the SNP ceased in 2001, when the UK Parliament passed legislation prohibiting overseas funding of political activities in the United Kingdom.

 

Dean Connery's Tax Status

 

In response to accusations that he was a tax exile, Connery released documents in 2003 showing he had paid £3.7 million in UK taxes between 1997 and 1998 and between 2002 and 2003. Critics pointed out that had he been continuously residing in the UK for tax purposes, his tax rate would have been far higher.

 

In the run-up to the 2014 Scottish independence referendum, Connery's brother Neil said that Connery would not come to Scotland to rally independence supporters, since his tax exile status greatly limited the number of days he could spend in the country.

 

After Connery sold his Marbella villa in 1999, Spanish authorities launched a tax evasion investigation, alleging that the Spanish treasury had been defrauded of £5.5 million.

 

Connery was subsequently cleared by officials, but his wife and 16 others were charged with attempting to defraud the Spanish treasury.

 

The Death and Legacy of Sean Connery

 

Connery died in his sleep on the 31st. October 2020, aged 90, at his home in the Lyford Cay community of Nassau in the Bahamas. His death was announced by his family and Eon Productions; although they did not disclose the cause of death, his son Jason said he had been unwell for some time.

 

A day later, Roquebrune revealed he had suffered from dementia in his final years. Connery's death certificate recorded the cause of death as pneumonia and respiratory failure, and the time of death was listed as 1:30 am.

 

Sean's remains were cremated, and the ashes were scattered in Scotland at undisclosed locations in 2022.

 

Following the announcement of his death, many co-stars and figures from the entertainment industry paid tribute to Connery, including Sam Neill, Nicolas Cage, Robert De Niro, Michael Bay, Tippi Hedren, Alec Baldwin, Hugh Jackman, George Lucas, Shirley Bassey, Kevin Costner, and Catherine Zeta-Jones.

 

Tributes also came from Barbra Streisand, John Cleese, Jane Seymour and Harrison Ford, as well as former Bond stars George Lazenby, Timothy Dalton and Pierce Brosnan, the family of late former Bond actor Roger Moore, and Daniel Craig, who played 007 until No Time to Die.

 

Connery's long-time friend Michael Caine called him:

 

"A great star, brilliant actor

and a wonderful friend".

 

James Bond producers Michael G. Wilson and Barbara Broccoli released a statement saying that:

 

"Connery has revolutionized the world

with his gritty and witty portrayal of the

sexy and charismatic secret agent.

He is undoubtedly largely responsible

for the success of the film series, and

we shall be forever grateful to him".

 

In 2004, a poll in the UK Sunday Herald recognised Connery as "The Greatest Living Scot," and a 2011 EuroMillions survey named him "Scotland's Greatest Living National Treasure".

 

He was voted by People magazine as the "Sexiest Man Alive" in 1989 and the "Sexiest Man of the Century" in 1999.

 

Final Thoughts From Sir Sean Connery

 

"I am not an Englishman, I was never an

Englishman, and I don't ever want to be

one. I am a Scotsman! I was a Scotsman,

and I will always be one."

 

"I admit I'm being paid well, but it's no more

than I deserve. After all, I've been screwed

more times than a hooker."

 

"Love may not make the world go round,

but I must admit that it makes the ride

worthwhile."

 

"There is nothing like a challenge

to bring out the best in man."

 

"I like women. I don't understand

them, but I like them."

 

"Some age, others mature."

 

"I met my wife through playing golf. She is

French and couldn't speak English, and I

couldn't speak French, so there was little

chance of us getting involved in any boring

conversations - that's why we got married

really quickly."

 

"Everything I have done or attempted to do

for Scotland has always been for her benefit,

never my own, and I defy anyone to prove

otherwise."

 

"The knighthood I received was a fantastic

honor but it's not something I've ever used,

and I don't think I ever will."

 

"I never trashed a hotel room or did drugs."

 

"More than anything else, I'd like to be an

old man with a good face, like Hitchcock or

Picasso."

 

"Laughter kills fear, and without fear there

can be no faith. For without fear of the devil

there is no need for God."

 

"Perhaps I'm not a good actor, but I would

be even worse at doing anything else."

 

"I'm an actor - it's not brain surgery. If I do

my job right, people won't ask for their

money back."

 

"I haven't found anywhere in the world

where I want to be all the time. The best

of my life is the moving. I look forward to

going."

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

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

 

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.

  

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United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.

 

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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

 

www.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

 

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.

 

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Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.

 

Cambridge: MIT Press, 2003.

Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.

 

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Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.

 

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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

 

www.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

 

www.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

 

www.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

 

The Photograph

 

A 5" x 10" high-definition glossy photograph published by Rotary Photographic of London EC.

 

George Robey

 

Sir George Edward Wade, CBE, known professionally as George Robey, was an English comedian, singer and actor in musical theatre, who became known as one of the greatest music hall performers of the late 19th. and early 20th. centuries.

 

As a comedian, he mixed everyday situations and observations with comic absurdity. Apart from his music hall acts, he was a popular Christmas pantomime performer in the English provinces, where he excelled in the dame roles.

 

He scored notable successes in musical revues during and after the Great War, particularly with the song "If You Were the Only Girl in the World", which he performed with Violet Loraine in the revue The Bing Boys Are Here (1916).

 

One of George's best-known original characters in his six-decade long career was the Prime Minister of Mirth.

 

Born in London, Robey came from a middle-class family. After schooling in England and Germany, and a series of office jobs, he made his debut on the London stage at the age of 21, as the straight man to a comic hypnotist.

 

Robey soon developed his own act, and appeared at the Oxford Music Hall in 1890, where he earned favourable notices singing "The Simple Pimple," and "He'll Get It Where He's Gone to Now".

 

In 1892, he appeared in his first pantomime, Whittington Up-to-Date in Brighton, which brought him to a wider audience. More provincial engagements followed in Manchester, Birmingham and Liverpool, and he became a mainstay of the popular Christmas pantomime scene.

 

Robey's music hall act matured in the first decade of the 1900's, and he undertook several foreign tours. He starred in the Royal Command Performance in 1912, and regularly entertained before aristocracy.

 

George was an avid sportsman, playing cricket and football at a semi-professional level. During the Great War, in addition to his performances in revues, he raised money for many war charities, and was appointed a CBE in 1919.

 

From 1918, he created sketches based on his Prime Minister of Mirth character, and used a costume he had designed in the 1890's as a basis for the character's attire.

 

George made a successful transition from music hall to variety shows, and starred in the revue Round in Fifty in 1922, which earned him still wider notice. With the exception of his performances in revue and pantomime, he appeared as his Prime Minister of Mirth character in all the other entertainment media including variety, music hall and radio.

 

In 1913 Robey made his film debut, but he had only modest success in the medium. He continued to perform in variety theatre in the inter-war years and, in 1932, starred in Helen!, his first straight theatre role. His appearance brought him to the attention of many influential directors, including Sydney Carroll, who signed him to appear on stage as Falstaff in Henry IV, Part 1 in 1935, a role that he later repeated in Laurence Olivier's 1944 film, Henry V.

 

During the Second World War, Robey raised money for charities and promoted recruitment into the forces. By the 1950's, his health had deteriorated, and he entered into semi-retirement. George was knighted a few months before his death in 1954.

 

George Robey - The Early Years

 

Robey was born on the 20th. September 1869 at 334 Kennington Road, Kennington, London. He would later claim that he was born in the more affluent area of Herne Hill, although this was incorrect. His birthplace in Kennington is a three-storey house above a shop, which was then a hardware outlet. The shop is now home to a sushi restaurant called Sushi Essence.

 

In the 1860's, Kennington Road was a wealthy area mainly inhabited by successful tradesmen and businessmen. By the 1880's however, the area had fallen into a decline, and was considered by locals to be one of the most impoverished areas in London. The comedian Charlie Chaplin, who had a poor and deprived upbringing, was born in the same road 18 years after Robey.

 

George's father, Charles Wade, was a civil engineer who spent much of his career on tramline design and construction. Robey's mother, Elizabeth Mary Wade, née Keene, was a housewife; he also had two sisters.

 

George's paternal ancestors originated from Hampshire; his uncle, George Wade, married into the aristocracy in 1848, a link which provided a proud topic of conversation for future generations of the Wade family.

 

When Robey was five, his father moved the family to Birkenhead, where he helped in the construction of the Mersey Railway. Robey began his schooling in nearby Hoylake at a dame school. Three years later the family moved back to London, near the border between Camberwell and Peckham.

 

At around this time, trams were being introduced to the area, providing Charles Wade with a regular, well-paid job.

 

To fulfil an offer of work, Charles moved the family to Germany in 1880, and Robey attended a school in Dresden. He devoted his leisure hours to visiting the city's museums, art galleries and opera houses, and gained a reasonable fluency in German by the time he was 12.

 

He enjoyed life in Germany, and was impressed by the many operatic productions held in the city, and by the Germans' high regard for the arts.

 

When he was 14, his father allowed George to move in with a clergyman's family in the German countryside, which he used as a base while studying science at Leipzig University. In order to earn money, he taught English to his landlord's children, and minded them while their parents were at work.

 

Having successfully enrolled at the university, George studied art and music, and stayed with the family for a further 18 months so he could complete his studies before returning to England in 1885. He later claimed, apparently untruthfully, to have studied at the University of Cambridge.

 

There is no evidence that Robey enrolled at Cambridge or indeed any other English university, as fees in Victorian England were beyond the reach of someone like Charles Wade. Members of the theatrical community were nevertheless convinced of his attendance at Cambridge.

 

The theatre critic Max Beerbohm wrote that Robey was one of the few distinguished men to emerge from the campus, but the English writer Neville Cardus was more sceptical, wondering how someone from the University of Cambridge could end up in the music hall.

 

Robey's biographer, Peter Cotes, concludes that he likely played along with the assumptions that he was a Cambridge graduate in order to fit in with the higher circles of society.

 

At the age of 18, Robey travelled to Birmingham, where he worked in a civil engineer's office. It was here that he became interested in a career on the stage, and often dreamed of starring in his own circus.

 

He learned to play the mandolin, and became a skilled performer on the instrument. This drew interest from a group of local musicians and, together with a friend from the group who played the guitar, Robey travelled the local area in search of engagements.

 

Soon afterwards, they were hired to play at a charity concert at the local church in Edgbaston, a performance that led to more local bookings. For his next appearance, Robey performed an impromptu version of "Killaloo", a comic ditty taken from the burlesque Miss Esmeralda.

 

The positive response from the audience encouraged him to give up playing the mandolin to concentrate instead on singing comic songs.

 

George Robey's London Debut

 

By 1890 Robey had become homesick, and so he returned to South London, where he worked for a civil engineering company. He also joined a local branch of the Thirteen Club, which charged members a fee of half a crown a year. The club members, including both amateur and professional performers, were devoted to the idea of flouting superstition while staging concerts in public houses and small venues across London.

 

Hearing of George's talent, the founder of the club, W. H. Branch, invited Robey to appear at Anderton's Hotel in Fleet Street, where he performed the popular new comic song "Where Did You Get That Hat?".

 

Robey's performance secured him private engagements for which he was paid a guinea a night. By the early months of 1891, Robey was much in demand, and he decided to change his stage name. He swapped "Wade" for "Robey" after working for a company in Birmingham that bore the latter name.

 

It was at around this time that he met E. W. Rogers, an established music hall composer who wrote songs for Marie Lloyd and Jenny Hill. For Robey, Rogers wrote three songs: "My Hat's a Brown 'Un", "The Simple Pimple," and "It Suddenly Dawned Upon Me".

 

In 1891 Robey visited the Royal Aquarium in Westminster where he watched "Professor Kennedy", a burlesque mesmerist from America. After the performance, Robey visited Kennedy in his dressing room, and offered himself as the stooge for his next appearance.

 

They agreed that Robey, as his young apprentice, would be "mesmerised" into singing a comic song. At a later rehearsal, Robey negotiated a deal to sing one of the comic songs that had been written for him by Rogers.

 

Robey's turn was a great success, and as a result he secured a permanent theatrical residency at the venue. Later that year, he appeared as a solo act at the Oxford Music Hall, where he performed "The Simple Pimple" and "He'll Get It Where He's Gone to Now".

 

The theatrical press soon became aware of his act, and The Stage called him:

 

"A comedian with a pretty sense of

humour who delivers his songs with

considerable point and meets with

all success".

 

In early 1892 Robey starred alongside Jenny Hill, Bessie Bonehill and Harriet Vernon at the Paragon Theatre of Varieties in Mile End, where, according to his biographer Peter Cotes:

 

"He stole the notices from

experienced troupers".

 

That summer, Robey conducted a music hall tour of the English provinces which began in Chatham and took him to Liverpool, at a venue owned by the mother of the influential London impresario Oswald Stoll. Through this engagement Robey met Stoll, and the two became lifelong friends.

 

In early December, Robey appeared in five music halls a night, including Gatti's Under the Arches, the Tivoli Music Hall and the London Pavilion.

 

In mid-December, George travelled to Brighton, where he appeared in his first Christmas pantomime, Whittington Up-to-Date. Pantomime became a lucrative and regular source of employment for the comedian. Cotes calls Robey's festive performances:

 

"The cornerstone of his comic

art, and the source of some of

his greatest successes".

 

Music Hall Characterisations

 

During the 1890's Robey created music hall characters centred on everyday life. Among them were "The Chinese Laundryman" and "Clarence, the Last of the Dandies". As Clarence, Robey dressed in a top hat and frock coat, and carried a Malacca cane, the garb of a stereotypical Victorian gentleman.

 

For his drag pieces, the comedian established "The Lady Dresser", a female tailor who was desperate to out-dress her high class customers, and "Daisy Dillwater, the District Nurse" who arrived on stage with a bicycle to share light-hearted scandal and gossip with the audience before hurriedly cycling off.

 

With Robey's popularity came an eagerness to differentiate himself from his music hall rivals, and so he devised a signature costume when appearing as himself: an oversized black coat fastened from the neck down with large, wooden buttons.

 

George also wore black, unkempt, baggy trousers and a partially bald wig with black, whispery strands of dishevelled, dirty-looking hair that poked below a large, battered top-hat.

 

He applied thick white face paint, and exaggerated the redness on his cheeks and nose with bright red make-up; his eye line and eyebrows were also enhanced with thick, black greasepaint. He held a short, misshaped, wooden walking stick, which was curved at the top.

 

Robey later used the costume for his character, The Prime Minister of Mirth. The outfit helped Robey become instantly recognisable on the London music hall circuit. He next made a start at building his repertoire, and bought the rights to comic songs and monologues by several well-established music hall writers, including Sax Rohmer and Bennett Scott.

 

For his routines, Robey developed a characteristic delivery described by Cotes as:

 

"A kind of machine-gun staccato

rattle through each polysyllabic line,

ending abruptly, and holding the

pause while he fixed his audience

with his basilisk stare."

 

Success in Pantomime and the Provinces

 

At the start of 1894, Robey travelled to Manchester to participate in the pantomime Jack and Jill, where he was paid £25 a week for a three-month contract. He did not appear in Jack and Jill until the third act, but pleased the holiday crowds nonetheless.

 

During one performance the scenery mechanism failed, which forced him to improvise for the first time. Robey fabricated a story that he had just dined with the Lord Mayor before detailing exactly what he had eaten. The routine was such a hit that it was incorporated into the show as part of the script.

 

In the final months of 1894, Robey returned to London to honour a contract for Augustus Harris at the Theatre Royal, Drury Lane, the details of which are unknown.

 

In September he starred in a series of stand-up comedy shows that he performed every September from 1894 until 1899. These short performances, in English seaside resorts including Scarborough and Bournemouth, were designed chiefly to enhance his name among provincial audiences.

 

For the 1895 and 1896 Christmas pantomimes, he appeared in Manchester and Birmingham respectively, in the title role of Dick Whittington, for which he received favourable reviews and praise from audiences.

 

However despite the pantomime's success, Robey and his co-stars disliked the experience. The actress Ada Reeve felt that the production had a bad back-stage atmosphere, and was thankful when the season ended, while the comedian Barry Lupino was dismayed at having his role, Muffins, considerably reduced.

 

On the 29th. April 1898, Robey married his first wife, the Australian-born musical theatre actress Ethel Hayden (shown in the photograph), at St. Clement Danes church in the Strand, London. Robey and Ethel resided briefly in Circus Road, St John's Wood, until the birth of their first child Edward in 1900.

 

They then moved to 83 Finchley Road in Swiss Cottage, Hampstead. Family life suited Robey; his son Edward recalled many happy experiences with his father, including the evenings when he would accompany him to the half-dozen music halls at which he would be appearing each night.

 

By the start of the new century, Robey was a big name in pantomime, and he was able to choose his roles. Pantomime had enjoyed wide popularity until the 1890's, but by the time Robey had reached his peak, interest in it was on the wane.

 

A type of character he particularly enjoyed taking on was the pantomime dame, which historically was played by comedians from the music hall. Robey was inspired by the older comedians Herbert Campbell and Dan Leno, and, although post-dating them, he rivalled their eccentricity and popularity, earning the festive entertainment a new audience.

 

In his 1972 biography of Robey, Neville Cardus thought that:

 

"George Robey was at his fullest

as a pantomime Dame".

 

In 1902 Robey created the character "The Prehistoric Man". He dressed as a caveman, and spoke of modern political issues, often complaining about the government "slapping another pound of rock on his taxes".

 

The character was received favourably by audiences, who found it easy to relate to his topical observations. That year he released "The Prehistoric Man" and "Not That I Wish to Say Anything" on shellac discs using the early acoustic recording process.

 

Robey signed a six-year contract in June 1904 to appear annually at, among other venues, the Oxford Music Hall in London, for a fee of £120 a week. The contract also required him to perform during the spring and autumn seasons between 1910 and 1912.

 

Robey disputed this part of the contract, and stated that he agreed to this only as a personal favour to the music hall manager George Adney Payne, and that it should have become void on Payne's death in 1907.

 

The management of the Oxford however counter-claimed, and forbade Robey from appearing in any other music hall during this period. The matter went to court, where the judge found in Robey's favour.

 

Robey was engaged to play the title role in the 1905 pantomime Queen of Hearts. The show was considered risqué by the theatrical press. In one scene Robey accidentally sat on his crown before bellowing:

 

"Assistance! Methinks I have

sat upon a hedgehog."

 

'Hedgehog' is a British slang term for an unattractive woman. It is also used to describe a seductively elusive and promiscuois male.

 

In another sketch, the comedian mused:

 

"Then there's Mrs Simkins, the swank!

Many's the squeeze she's had of my

blue bag on washing day."

 

Robey scored a further hit with the show the following year, in Birmingham, which Cotes describes as:

 

"The most famous of all famous

Birmingham Theatre Royal

pantomimes".

 

Robey incorporated "The Dresser", a music hall sketch taken from his own repertoire, into the show.

 

Over the next few years George continued to tour the music hall circuit both in London and the English provinces, and recorded two songs, "What Are You Looking at Me For?" and "The Mayor of Mudcumdyke", which were later released by the Gramophone and Typewriter Company.

 

George Robey's Involvement in Sport

 

Off-stage, Robey led an active lifestyle, and was a keen amateur sportsman. He was proud of his healthy physique, and maintained it by performing frequent exercise and following a careful diet.

 

By the time he was in his mid-thirties, George had played as an amateur against Millwall, Chelsea and Fulham football clubs. He organised and played in many charity football matches throughout England, which were described by the sporting press as being of a very high standard, and he remained an active football player well into his fifties.

 

Robey became associated with cricket by 1895 when he led a team of amateur players for a match at Turney Road in Dulwich. In September 1904, while appearing in Hull, he was asked by the cricketer Harry Wrathall to take part in a charity cricket match at the Yorkshire County Cricket Club.

 

Robey played so well that Wrathall asked him to return the following Saturday to take part in a professional game. That weekend, while waiting in the pavilion before the game, Robey was approached by an agent for Hull City A.F.C., who asked the comedian to play in a match that same afternoon. Robey agreed, swapped his cricket flannels for a football kit and played with the team against Nottingham Forest as an inside right.

 

By 1903 Robey was playing at a semi-professional level. He was signed as an inside forward by Millwall Football Club, and scored many goals for them. He also displayed a good level of ability in vigoro, an Australian sport derived from both cricket and baseball which was short-lived in England.

 

Two years later George became a member of the Marylebone Cricket Club, and played in minor games for them for many years. He gained a reputation at the club for his comic antics on the field, such as raising his eyebrows at the approaching bowler in an attempt to distract him.

 

The writer Neville Cardus was complimentary about Robey's cricket prowess, and called him "an elegant player" whose performances on the cricket field were as entertaining as they were on the stage. Although a versatile player, Robey thought of himself as a "medium-paced, right-handed bowler".

 

Robey was asked to help organise a charity football match in 1907 by friends of the Scottish football trainer James Miller, who had died the previous year. Robey compiled a team of amateur footballers from the theatrical profession, and met Miller's former team Chelsea Football Club at their home ground. The match raised considerable proceeds for Miller's widow. Robey was proud of the match and joked:

 

"I just wanted to make sure that

Chelsea stay in the first division."

 

George Robey the Violin Maker

 

In his spare time, Robey made violins, a hobby that he first took up during his years in Dresden. He became a skilled craftsman of the instrument, although he never intended for them to be played in public.

 

Speaking in the 1960's, the violinist and composer Yehudi Menuhin, who played one of Robey's violins for a public performance during that decade, called the comedian's finished instrument "very professional".

 

Yehudi was intrigued by the idea that a man as famous as Robey could produce such a "beautifully finished" instrument, unbeknown to the public.

 

Robey was also an artist, and some of his pen and ink self-caricatures are kept at the National Portrait Gallery, London.

 

High-Profile Audiences

 

Robey's first high-profile invitation came in the first decade of the 1900's from Hugh Lowther, 5th. Earl of Lonsdale, who hired him as entertainment for a party he was hosting at Carlton House Terrace in Westminster.

 

Soon afterwards, the comedian appeared for the first time before royalty when King Edward VII had Robey hired for several private functions. Robey performed a series of songs and monologues and introduced the "Mayor of Mudcumdyke", all of which was met with much praise and admiration from the royal watchers.

 

He was later hired by Edward's son, the Prince of Wales (the future King George V), who arranged a performance at Carlton House Terrace for his friend Lord Curzon.

 

In July 1912, at the invitation of the impresario Oswald Stoll, Robey took part for the first time in a Royal Command Performance, to which Cotes attributes:

 

"One of the prime factors in

his continuing popularity".

 

King George V and Queen Mary were "delighted" with Robey's comic sketch, in which he performed the "Mayor of Mudcumdyke" in public for the first time. Robey found the royal show to be a less daunting experience than the numerous private command performances that he gave during his career.

 

George Robey's Film Debut

 

Robey's first experience in cinema was in 1913, with two early sound film shorts: "And Very Nice Too," and "Good Queen Bess", made using the Kinoplasticon process, where the film was synchronised with phonograph records.

 

The following year, George tried to emulate his music hall colleagues Billy Merson and Charlie Austin, who had set up Homeland Films and found success with the Squibs series of films starring Betty Balfour.

 

Robey met filmmakers from the Burns Film Company, who engaged him in a silent short entitled "George Robey Turns Anarchist", in which he played a character who fails to blow up the Houses of Parliament.

 

George continued to appear sporadically in film throughout the rest of his career, although never achieving more than a modest amount of success.

 

George Robey in the Great War

 

At the outbreak of the Great War, Robey wanted to enlist in the army but, now in his 40's, he was too old for active service. Instead, he volunteered for the Special Constabulary, and raised money for charity through his performances as a comedian.

 

It was not uncommon for him to finish at the theatre at 1:00 am and then to patrol as a special constable until 6:00 am, where he would frequently help out during zeppelin raids.

 

George combined his civilian duties with work for a volunteer motor transport unit towards the end of the war, in which he served as a lieutenant. He committed three nights a week to the corps while organising performances during the day to benefit war charities.

 

Robey was a strong supporter of the Merchant Navy, and thought that they were often overlooked when it came to charitable donations. He raised £22,000 at a benefit held at the London Coliseum, which he donated in the navy's favour.

 

In 1914, for the first time in many years, Robey appeared in a Christmas pantomime as a male when he was engaged to play the title role in Sinbad the Sailor; Fred Emney Senior played the dame role.

 

Although the critics were surprised by the casting, it appealed to audiences, and the scenes featuring Robey and Emney together proved the most memorable.

 

During the war the demand for light entertainment in the English provinces guaranteed Robey frequent bookings and a regular income. His appearances in Manchester, Liverpool, Newcastle and Glasgow were as popular as his annual performances in Birmingham. His wife Ethel accompanied him on these tours, and frequently starred alongside him.

 

By the Great War, music hall entertainment had fallen out of favour with audiences. Theatrical historians blame the music hall's decline on the increasing salaries of performers and the halls' inability to present profitably the twenty or thirty acts that the audiences expected to see.

 

Revue appealed to wartime audiences, and Robey decided to capitalise on the medium's popularity. Stoll offered Robey a lucrative contract in 1916 to appear in the new revue 'The Bing Boys Are Here' at the Alhambra Theatre, London.

 

Dividing his time between three or four music halls a night had become unappealing to the comedian, and he relished the opportunity to appear in a single theatre. He was cast as Lucius Bing opposite Violet Loraine, who played his love interest Emma, and the couple duetted in the show's signature song "If You Were the Only Girl in the World", which became an international success.

 

This London engagement was a new experience for Robey, who had only been familiar with provincial pantomimes and week-long, one-man comedy shows. Aside from pantomime, he had never taken part in a long-running production, and he had never had to memorise lines precisely or keep to schedules enforced by strict directors and theatre managers.

 

The Bing Boys Are Here ran for 378 performances, and occupied the Alhambra for more than a year. The theatrical press praised Robey as:

 

"The first actor of the halls".

 

George made two films towards the end of the war: The Anti-frivolity League in 1916, and Doing His Bit the following year.

 

Zig-Zag to Joy Bells

 

Robey left the cast of The Bing Boys during its run, in January 1917, in order to star at the London Hippodrome in the lavishly staged revue Zig-Zag!.

 

Robey included a sketch based on his music hall character "The Prehistoric Man", with Daphne Pollard playing the role of "She of the Tireless Tongue". In another scene, he played a drunken gentleman who accidentally secures a box at the Savoy Theatre instead of an intended hotel room.

 

The audience appeared unresponsive to the character, so he changed it mid-performance to that of a naive Yorkshire man. The change provoked much amusement, and it became one of the most popular scenes of the show. Zig-Zag ran for 648 performances.

 

Stoll again secured Robey for the Alhambra in 1918 for a sequel, The Bing Boys on Broadway. The show, again co-starring Violet Loraine, matched the popularity of its predecessor, and beat the original show's run with a total of 562 performances.

 

Robey returned to the London Hippodrome in 1919 where he took a leading role in another hit revue, Joy Bells. Robey played the role of an old-fashioned father who is mystified over the changing traditions after the First World War.

 

He interpolated two music hall sketches: "No, No, No," which centred on turning innocent, everyday sayings into suggestive and provocative maxims, and "The Rest Cure," which told the story of a pre-op hospital patient who hears worrying stories of malpractice from his well-meaning friends who visit him.

 

Joy Bells ran for 723 performances.

 

In the Italian newspaper La Tribuna, the writer Emilio Cecchi commented:

 

"Robey, just by being Robey, makes us

laugh until we weep. We do not want to

see either Figaro or Othello; it is quite

enough for Robey to appear in travelling

costume and to turn his eyes in crab-like

fashion from one side of the auditorium

to another.

Robey's aspect in dealing with his audience

is paternal and, one might say, apostolic."

 

In the early months of 1919, Robey completed a book of memoirs, 'My Rest Cure', which was published later that year. During the run of Joy Bells he was awarded the Legion of Honour for raising £14,000 for the French Red Cross.

 

George declined a knighthood that same year because, according to Cotes, he was worried that the title would distance him from his working-class audiences; he was appointed a CBE by George V at Buckingham Palace instead.

 

On the morning of the penultimate Joy Bells performance, Robey was invited to Stoll's London office, where he was offered a role in a new revue at the Alhambra Theatre. On the journey, he met the theatre impresario Sir Alfred Butt, who agreed to pay him £100 more, but out of loyalty to Stoll, he declined the offer and resumed his £600 a week contract at the Alhambra.

 

George Robey in the Inter-War Years

 

On the 28th. July 1919, Robey took part in his second Royal Command Performance, at the London Coliseum. He and Violet Loraine sang "If You Were the Only Girl in the World".

 

A gap in the Alhambra's schedule allowed Stoll to showcase Robey in a new short film. "George Robey's Day Off" (1919) showed the comedian acting out his daily domestic routines to comic effect, but the picture failed at the box office. The British director John Baxter concluded that producers did not know how best to apply Robey's stage talents to film.

 

By 1920 variety theatre had become popular in Britain, and Robey had completed the successful transition from music hall to variety star. Pantomime, which relied on its stars to make up much of the script through ad lib, was also beginning to fall out of favour, and his contemporaries were finding it too difficult to create fresh material for every performance; for Robey, however, the festive entertainment continued to be a lucrative source of employment.

 

Robey's first revue of the 1920's was Johnny Jones, which opened on the 1st. June 1920 at the Alhambra Theatre. The show also featured Ivy St. Helier, Lupino Lane and Eric Blore, and carried the advertisement "A Robey salad with musical dressing".

 

One of the show's more popular gags was a scene in which Robey picked and ate cherries off St. Helier's hat, before tossing the stones into the orchestra pit which were then met by loud bangs from the bass drum.

 

A sign of George's popularity came in August 1920 when he was depicted in scouting costume for a series of 12 Royal Mail stamps in aid of the Printers Pension Corporation War Orphans and the Prince of Wales Boy Scout Funds.

 

Neville Cardus, in The Darling of the Halls (1972), writes:

 

"I think Robey's Mother Goose was, as far

as I know, the greatest piece of acting of

what is called the 'Dame' that I have ever

seen.

But then again his Dame Trot in Jack and

the Beanstalk was great comic acting.

It was incredible. Really a piece of wonderful

acting in a few minutes – acting you would

put on the same plane as you would any

great actor of the time."

 

The revue Robey en Casserole (1921) was next for Robey, during which he led a troupe of dancers in a musical piece called the "Policemen Ballet". Each dancer was dressed in a mock police uniform on top and a tutu below.

 

However the show was the first failure for George under Stoll's management. That December Robey appeared in his only London pantomime, Jack and the Beanstalk, at the Hippodrome. His biographer, Peter Cotes, remembered the comedian's interpretation of Dame Trot as:

 

"Enormously funny: a bucolic caricature

of a woman, sturdy and fruity, leathery

and forbidding.

Robey's comic timing was in a class of

its own."

 

In March 1922 Robey remained at the Hippodrome in the revue Round in Fifty, a modernised version of Round the World in Eighty Days, which proved to be another hit for the London theatre, and a personal favourite of the comedian.

 

Stoll brought Robey to cinema audiences a further four times during 1923. The first two films were written with the intention of showcasing the comedian's pantomime talents: 'One Arabian Night' was a reworking of Aladdin, while 'Harlequinade' visited the roots of pantomime.

 

Marriage Breakdown and Foreign Tours

 

One of Robey's more notable roles under Stoll was Sancho Panza in the 1923 film Don Quixote, for which he received a fee of £700 a week. However the amount of time he spent working away from home led to the breakdown of his marriage, and he separated from Ethel in 1923. He had a brief affair with one of his leading ladies, and walked out of the family home.

 

Robey made a return to the London Hippodrome in 1924 in the revue Leap Year. Leap Year was set in South Africa, Australia and Canada, and was written to appeal to the tourists who were visiting London from the Commonwealth countries.

 

Robey was much to their tastes, and his rendition of "My Old Dutch" helped the show achieve another long run of 421 performances.

 

Sky High was next, and opened at the London Palladium in March 1925. The chorus dancer Marie Blanche was his co-star, a partnership that caused the gossip columnists to comment on the performers' alleged romance two years previously. Despite the rumours, Blanche continued as his leading lady for the next four years, and Sky High lasted for 309 performances on the West End stage.

 

The year 1926 was lacking in variety entertainment, a fact largely attributed to the UK general strike that had occurred in May of that year. The strike was unexpected by Robey, who had signed the previous year to star in a series of variety dates for Moss Empires.

 

The contract was lucrative, made more so by the comedian's willingness to manage his own bookings. He took the show to the provinces under the title of Bits and Pieces, and employed a company of 25 artists as well as engineers and support staff.

 

Despite the economic hardships of Great Britain in 1926, large numbers of people turned out to see the show. George returned to Birmingham, a city where he was held in great affection, and where he was sure the audiences would embrace his new show.

 

However, censors demanded that he omit the provocative song "I Stopped, I Looked, I Listened" and that he heavily edit the sketch "The Cheat". The restrictions failed to dampen the audiences' enthusiasm, and Bits and Pieces enjoyed rave reviews. It ran until Christmas and earned a six-month extension.

 

In the spring of 1927 Robey took the opportunity to tour abroad, when he and his company took Bits and Pieces to South Africa, where it was received favourably. By the time he had left Cape Town, he had played to over 60,000 people, and had travelled in excess of 15,000 miles.

 

Upon his return to England in October, George took Bits and Pieces to Bradford. In August 1928, Robey and his company travelled to Canada, where they played to packed audiences for three months.

 

It was there that he produced a new revue, Between Ourselves, in Vancouver, which was staged especially for the country's armed forces. The Canadians were enthusiastic about Robey; he was awarded the freedom of the city in London, Ontario, made a chieftain of the Sarcee tribe, and was an honorary guest at a cricket match in Edmonton, Alberta. George described the tour as "one of unbroken happiness."

 

In the late 1920's Robey also wrote and starred in two Phonofilm sound-on-film productions, Safety First (1928), and Mrs. Mephistopheles (1929).

 

In early 1929 Robey returned to South Africa and then Canada for another tour with Bits and Pieces, after which he started another series of variety dates back in England. Among the towns he visited was Woolwich, where he performed to packed audiences over the course of a week.

 

In 1932 Robey appeared in his first sound film, The Temperance Fête, and followed this with Marry Me, which was, according to his biographer A. E. Wilson, one of the most successful musical films of the comedian's career. The film tells the story of a sound recordist in a gramophone company who romances a colleague when she becomes the family housekeeper.

 

By the later months of 1932, Robey had formed a romantic relationship with Blanche Littler (1897–1981), who then took over as his manager. The couple grew close during the filming of Don Quixote, a remake of the comedian's 1923 success as Sancho Panza.

 

Unlike its predecessor, Don Quixote had an ambitious script, big budget and an authentic foreign setting. Robey resented having to grow a beard for the role, and disliked the French climate and gruelling 12-week filming schedule. He refused to act out his character's death scene in a farcical way, and also objected to the lateness of the "dreadfully banal" scripts, which were often written the night before filming.

 

Venture Into Legitimate Theatre

 

Until 1932 Robey had never played in legitimate theatre, although he had read Shakespeare from an early age. That year he took the part of King Menelaus in Helen!, which was an English-language adaptation by A. P. Herbert of Offenbach's operetta La belle Hélène.

 

The show's producer C. B. Cochran, a longstanding admirer of Robey, engaged a prestigious cast for the production, including Evelyn Laye and W. H. Berry, with choreography by Léonide Massine and sets by Oliver Messel.

 

The operetta opened on the 30th. January 1932, becoming the Adelphi Theatre's most successful show of the year. The critic Harold Conway wrote that, while Robey had reached the pinnacle of his career as a variety star, which only required him to rely on his "breezy, cheeky personality", he had reservations about the comedian's ability to "integrate himself with the other stars ... to learn many pages of dialogue, and to remember countless cues."

 

After the run of Helen!, Robey briefly resumed his commitments to the variety stage before signing a contract to appear at the Savoy Theatre as Bold Ben Blister in the operetta Jolly Roger, which premiered in March 1933.

 

The production had a run of bad luck, including an actors' strike which was caused by Robey's refusal to join the actors' union Equity. The dispute was settled when he was included as a co-producer of the show, thus excluding him as a full-time actor. Robey made a substantial donation to the union, and the production went ahead.

 

Despite its troubles, the show was a success, and received much praise from the press. Harold Conway of the Daily Mail called the piece:

 

"One of the outstanding triumphs

of personality witnessed in a

London theatre".

 

Later that year, Robey completed his final autobiography, 'Looking Back on Life'. The literary critic Graham Sutton admired Robey for his honest and frank account, and thought that he was "at his best when most personal".

 

George Robey's Shakespearean Roles

 

According to Wilson, Robey revered Shakespeare and had an "excellent reading knowledge of the Bard" even though the comedian had never seen a Shakespeare play. As a child, he had committed to memory the "ghost" scene in Hamlet.

 

Writing in 1933, Cochran expressed the opinion that Robey had been a victim of a largely conservative and "snobbish" attitude from theatre managers, that the comedian was "cut out for Shakespeare", and that if he had been frequently engaged in playing the Bard's works, then "Shakespeare would probably have been popular."

 

In 1934, the theatre director Sydney Carroll offered Robey the chance to appear as Nick Bottom in A Midsummer Night's Dream at the Open Air Theatre, Regent's Park, but he initially declined the offer, citing a hectic schedule, including a conflict with his appearance in that year's Royal Variety Performance on the 8th. May.

 

George was also concerned that he would not be taken seriously by legitimate theatre critics, and knew that he would not be able to include a comic sketch or to engage in his customary resourceful gagging.

 

In the same year, Robey starred in a film version of the hit musical Chu Chin Chow. The New York Times called him "a lovable and laughable Ali Baba".

 

At the start of 1935 Robey accepted his first Shakespearean role, as Falstaff in Henry IV, Part 1, which surprised the press and worried fans who thought that he might retire the Prime Minister of Mirth.

 

The theatrical press were sceptical of a music hall performer taking on such a distinguished role; Carroll, the play's producer, vehemently defended his casting choice. Carroll later admitted taking a gamble on employing Robey, but wrote that:

 

"George Robey has unlimited courage

in challenging criticism and risking his

reputation on a venture of this kind; he

takes both his past and his future in both

hands, and is faced with the alternative

of dashing them into the depths or lifting

them to a height hitherto undreamt of."

 

Carroll further opined that:

 

"Robey has never failed in anything he

has undertaken. He is one of the most

intelligent and capable of actors."

 

Henry IV, Part I opened on the 28th. February at Her Majesty's Theatre, and Robey proved himself to be a capable Shakespearean actor, though his Shakespearean debut was marred initially by an inability to remember his lines.

 

A journalist from The Daily Express thought that Robey seemed uncomfortable, displayed a halting delivery and was "far from word perfect".

 

Writing in The Observer, the critic Ivor Brown said of Robey's portrayal:

 

"In no performance within my memory

has the actor been more obviously the

afflicted servant of his lines and more

obviously the omnipotent master of the

situation".

 

Another journalist, writing in the Daily Mirror, thought that:

 

"Robey gave 25 percent of Shakespeare

and 75 percent of himself".

 

In any event, such was Robey's popularity in the role that the German theatre and film producer Max Reinhardt declared that, should the opportunity arise for a film version, the comedian would be his perfect choice as Falstaff.

 

Cotes described Robey as having:

 

"A great vitality and immense command

of the role. He never faltered, he had to

take his audience by the throat and make

them attentive at once because he couldn't

play himself in."

 

Although George was eager to be taken seriously as a legitimate actor, Robey provided a subtle nod in the direction of his comic career by using the wooden cane intended for the Prime Minister of Mirth for the majority of his scenes as Falstaff.

 

The poet John Betjeman responded to the critics' early scepticism:

 

"Variety artistes are a separate world

from the legitimate stage. They are

separate too, from ballet, opera, and

musical comedy.

It is possible for variety artists to

appear in all of these. Indeed, no one

who saw will ever forget the superb

pathos and humour of George Robey's

Falstaff".

 

Later, in 1935, Blanche Littler persuaded Robey to accept Carroll's earlier offer to play Bottom, and the comedian cancelled three weeks' worth of dates. The press were complimentary of his performance, and he later attributed his success to Littler and her encouragement.

 

George Robey's Later Career: 1936–1950

 

Robey was interviewed for The Spice of Life programme for the BBC in 1936. He spoke about his time spent on the music hall circuit, which he described as the "most enjoyable experience" of his life.

 

The usually reserved Robey admitted that privately he was not a sociable person, and that he often grew tired of his audiences while performing on stage, but that he got his biggest thrill from making others laugh.

 

He also declared a love for the outdoors, and mentioned that, to relax, he would draw "comic scribbles" of himself as the Prime Minister of Mirth, which he would occasionally give to fans. As a result of the interview he received more than a thousand fan letters from listeners.

 

Wilson thought that Robey's "perfect diction and intimate manner made him an ideal broadcast speaker". The press commented favourably on his performance, with one reporter from Variety Life writing:

 

"I doubt whether any speaker other than

a stage idol could have used, as Robey

did, the first person singular almost

incessantly for half an hour without

causing something akin to resentment. ...

The comedian's talk was brilliantly

conceived and written."

 

In the later months of 1936, Robey repeated his radio success with a thirty-minute programme entitled "Music-Hall", recorded for American audiences, to honour the tenth birthday of the National Broadcasting Corporation. In it, he presented a montage of his characterisations, as well as impressions of other famous acts of the day.

 

A second programme, which he recorded the following year, featured George speaking fondly of cricket and of the many well-known players whom he had met on his frequent visits to the Oval and Lord's cricket grounds over his fifty-year association.

 

In the summer of 1938 Robey appeared in the film A Girl Must Live, directed by Carol Reed, in which he played the role of Horace Blount. A report in the Kinematograph Weekly commented that:

 

"The 69-year-old comedian is still able

to stand up to the screen by day and

variety by night."

 

A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was "a perfect study in bewildered embarrassment".

 

Robey made his television debut in August 1938, but was unenthused with the medium, and only made rare appearances. The BBC producer Grace Wyndham Goldie was dismayed at how little of his "comic quality" was conveyed on the small screen.

 

Goldie thought that Robey's comic abilities were not limited to his voice, and depended largely on the relation between his facial expressions and his witty words. She felt that:

 

"He should be forbidden, by his own

angel, if nobody else, to approach

the ordinary microphone".

 

Nonetheless, Goldie remained optimistic about Robey's future television career. The journalist L. Marsland Gander disagreed, and thought that Robey's methods were "really too slow for television".

 

That November, and with his divorce from Ethel finalised, Robey married Blanche Littler, who was more than two decades his junior, at Marylebone Town Hall.

 

At Christmas, he fractured three ribs and bruised his spine when he accidentally fell into the orchestra pit while appearing in the 1938–39 pantomime Robinson Crusoe in Birmingham. George attributed the fall to his face mask, which gave him a limited view of the stage.

 

The critic Harold Conway was less forgiving, blaming the accident on the comedian's "lost self-confidence" and opining that the accident was the start of Robey's professional decline.

 

George Robey in the Second World War

 

Aware of demand for his act in Australia, Robey conducted a second tour of the country at the start of 1939. While he was appearing at the Tivoli Theatre in Sydney, war broke out with Germany.

 

Robey returned to England and concentrated his efforts on entertaining in order to raise money for the war effort. He signed up with the Entertainments National Service Association (ENSA) for whom he appeared in a wide range of shows, and also in his own one-man engagements.

 

He would sometimes turn up unannounced to perform at hospitals, munition factories, airfields, anti-aircraft posts and other venues where there was an audience of just a few people.

 

During the 1940's, Robey appeared predominantly in troop concerts as himself, but caused controversy by jokingly supporting the Nazis and belittling black people during his act. His intentions were to gently poke fun at the "Little Englanders", but audiences thought that he was sympathising with Nazism.

 

George's jocular view that a defeat for Hitler would mean a victory for bolshevism was highlighted in a series of controversial interviews, which caused him much embarrassment when challenged and which he regretted afterwards. His views became known in the press as "Robeyisms", and they drew increasing criticism, but his Prime Minister of Mirth remained popular, and he used the character to divert the negative publicity.

 

Cotes wrote that:

 

"Robey was not a politician, merely a

jingoist, who lived long enough to feel

that his little-Englander outlook was

causing him acute embarrassment, and

his army of admirers deep dismay."

 

Robey starred in the film Salute John Citizen in 1942, about the effects that the war had on a normal British family. In a 1944 review of the film, Robey was described as being "convincing in an important role" but the film itself had "dull moments in the simple tale".

 

That Christmas, Robey travelled to Bristol, where he starred in the pantomime Robinson Crusoe. A further four films followed in 1943, one of which promoted war propaganda while the other two displayed the popular medium of cine-variety. Cine-variety introduced Robey to the Astoria in Finsbury Park, London, a venue which was used to huge audiences and big-name acts and was described as "a super-cinema".

 

During the early months of 1944, Robey returned to the role of Falstaff when he appeared in the film version of Henry V, produced by Eagle-Lion Films. The American film critic Bosley Crowther had mixed opinions of the film. Writing in The New York Times in 1946, he thought that:

 

"It showcased a fine group of British film

craftsmen and actors who contributed to

a stunningly brilliant and intriguing screen

spectacle. Despite this, the film's additional

screenplay was poor, and Falstaff's deathbed

scene was non-essential and just a bit

grotesque."

 

Late in 1944, George appeared in Burnley in a show entitled Vive Paree alongside Janice Hart and Frank O'Brian. In 1945, Robey starred in two minor film roles, as "Old Sam" in The Trojan Brothers, a short comedy film in which two actors experience various problems as a pantomime horse, and as "Vogel" in the musical romance Waltz Time.

 

George Robey's Final Years

 

George spent 1947 touring England, while the following spring he undertook a provincial tour of Frederick Bowyer's fairy play The Windmill Man, which he also co-produced with his wife.

 

In June 1951, now aged 81, Robey starred in a midnight gala performance at the London Palladium in aid of the family of Sid Field who had died that year. For the finale, Robey performed "I Stopped, I Looked, I Listened" and "If You Were the Only Girl in the World". The rest of the three-hour performance featured celebrities from radio, television and film.

 

The American comedian Danny Kaye, who was also engaged for the performance, called Robey a "great, great artist".

 

The same month, Robey returned to Birmingham, where he opened a garden party at St. Mary and St. Ambrose Church, a venue in which he had appeared at the beginning of his career. On the 25th. September George appeared for the BBC in an edition of the radio series Desert Island Discs for which he chose among others "Mondo ladro", Falstaff's rueful complaint about the wicked world in Verdi's opera Falstaff.

 

For the rest of the year Robey made personal appearances opening fêtes and attending charity events.

 

Robey took part in the Festival of Variety for the BBC in 1951, which paid tribute to the British music hall. For his performance, he adopted an ad-lib style rather than use a script. His wife sat at the side of the stage, ready to provide support should he need it. Robey's turn earned the loudest applause of the evening.

 

The following month Robey undertook a long provincial tour in the variety show Do You Remember? under the management of Bernard Delfont. After an evening's performance in Sheffield, he was asked by a local newspaper reporter if he considered retiring. The comedian quipped:

 

"Me retire? Good gracious, I'm too

old for that. I could not think of

starting a new career at my age!"

 

In December 1951, he opened the Lansbury Lodge home for retired cricketers in Poplar, East London; he considered the ceremony to be one of the "happiest memories of his life."

 

By early 1952, Robey was becoming noticeably frail, and he lost interest in many of his sporting pastimes. Instead, he stayed at home and drew comic sketches featuring the Prime Minister of Mirth.

 

In May he filmed The Pickwick Papers, in which he played the role of old Tony Weller, a part which he had initially turned down on health grounds. The following year, and in aid of the games fund, he starred as Clown in a short pantomime at the Olympic Variety Show at the Victoria Palace Theatre.

 

Organisers asked for him to appear in the Prime Minister of Mirth costume instead of the usual clown garb, a request the comedian was happy to fulfil.

 

George Robey's Knighthood and Death

 

In the early months of 1954, a knighthood was conferred on Robey by Queen Elizabeth The Queen Mother at Buckingham Palace. During the following weeks, his health declined; he became confined to a wheelchair, and spent the majority of his time at home under the care of his wife.

 

In May he opened a British Red Cross fête in Seaford, East Sussex, and, a month later, made his last public appearance, on television as a panellist in the English version of The Name's the Same. Wilson called Robey's performance "pathetic" and thought that he appeared with only "a hint of his old self".

 

By June George had become housebound, and quietly celebrated his 85th. birthday surrounded by family; visiting friends were organised into appointments by his wife Blanche, but theatrical colleagues were barred in case they caused the comedian too much excitement.

 

Robey suffered a stroke on the 20th. November 1954 and remained in a semi-coma for just over a week. He died at the age of 85 on the 29th. November 1954 at his home in Saltdean, East Sussex, and was cremated at the Downs Crematorium in Brighton.

 

Following his death, Robey's costume for the Prime Minister of Mirth was donated to the London Museum.

 

Blanche continued to live on the Sussex coast until her death at the age of 83 in 1981.

 

Tributes and Legacy

 

News of Robey's death prompted tributes from the press, who printed illustrations, anecdotes and reminders of his stage performances and charitable activities. A reporter from the Daily Worked wrote:

 

"Knighthood notwithstanding, George

Robey long ago made himself a place

as an entertainer and artist of the people."

 

A critic for the Daily Mail wrote:

 

"Personality has become a wildly

misused word since his heyday, but

George Robey breathed it in every

pore."

 

In Robey's obituary in The Spectator, Compton Mackenzie called the comedian:

 

"One of the last great figures of

the late Victorian and Edwardian

music-hall."

 

In December 1954, a memorial service for Robey was held at St. Paul's Cathedral. The diverse congregation consisted of royalty, actors, hospital workers, stage personnel, students and taxi drivers, among others.

 

The Bishop of Stepney, Joost de Blank, said:

 

"We have lost a great English music

hall artist, one of the greatest this

country has known in the late

nineteenth and twentieth centuries."

 

Performers gave readings at the service, including the comedian Leslie Henson, who called Robey "that great obstinate bullock of variety".

 

In his lifetime, Robey helped to earn more than £2,000,000 for charitable causes, with £500,000 of that figure being raised during the Great War.

 

In recognition of his efforts, the Merchant Seaman's Convalescent Home in Limpsfield, Surrey, named a ward after him, and the Royal Sussex Hospital later bought a new dialysis machine in his memory.

 

Robey's comic delivery influenced other comedians, but opinions of his effectiveness as a comic vary. The radio personality Robb Wilton acknowledged learning a lot from him, and although he felt that Robey "was not very funny", he could time a comic situation perfectly.

 

Similarly, the comedian Charlie Chester admitted that, as a comedian, Robey "still didn't make me laugh," although he described him as "a legend" whose Prime Minister of Mirth character used a beautiful make-up design.

 

Robey's biographer Peter Cotes disagreed with these assessments, praising the comedian's "droll-like humour" and comparing it in greatness to Chaplin's miming and Grock's clowning. Cotes wrote:

 

"His Mayor, Professor of Music, Saracen,

Dame Trot, Queen of Hearts, District Nurse,

Pro's Landlady, and of course his immortal

Prime Minister, were all absurdities: rich,

outsize in prim and pride, gloriously

disapproving bureaucratic petty officialdom

at its worst, best and funniest."

 

Violet Loraine called her former co-star:

 

"One of the greatest comedians

the world has ever known".

 

The theatrical producer Basil Dean opined that:

 

"George was a great artist, one of the

last and [sic] the really big figures of

his era. They don't breed them like

that now."

 

The actor John Gielgud, who remembered meeting Robey at the Alhambra Theatre in 1953, called the comedian:

 

"Charming, gracious, and one of the

few really great ones of the music

hall era."

 

British postcard. Photo: Vitagraph. Caption: In Memoriam John Bunny who died April 26th 1915. Regretted by millions all over the world.

 

American actor and comedian John Bunny (1863-1915) was considered the first true comedy star of the early American silent film era. He acted in over a hundred short comedies at Vitagraph, often with Flora Finch.

 

John Bunny was born in New York City, N.Y., in 1863. He grew up in Brooklyn, where he attended high school and worked as a grocery store clerk before joining a small minstrel show that toured the West Coast. He continued to combine his work as a stage manager for various companies with stage performances in vaudeville shows before being attracted to the then-nascent film industry. By 1909 he was already under contract to Vitagraph, and his character as a well-fed, carefree man quickly made him an international silent comedy star. With Vitagraph he took part in a series of more than a hundred comedies, forming a popular pair with actress Flora Finch, commonly identified as the "Bunnygraphs" or "Bunnyfinches". Other regulars in the Bunny comedies at Vitagraph were Charles Eldridge, William O'Shea, Hughie Mack, Wally Van, Lilian Walker, Julia Swayne Gordon, Edith Storey, and the future Hollywood stars Norma Talmadge and Clara Kimball Young. Laurence/Larry Trimble directed most of the comedy shorts, while also Fred. Thomson, Wilfrid North and George D. Baker directed. The London-based Saturday Review wrote about him in 1913: “When Mr. Bunny laughs, people from San Francisco to Stepney Green laugh with him. When he frowns, every kingdom of the earth is contracted in one brow of woe. His despair is incredible. His grief is unendurable. His wrath is apoplectic. His terror is the panic of a whole army.” That was a bit exaggerated, but Bunny's pantomime was greatly appreciated. In 1914 John Palmer wrote in the same magazine: "Mr. Bunny has an extensive and extremely flexible face. [...] We know at once why Mr. Bunny never speaks. He could not possibly find words to convey the extremity of his feelings."

 

Jack Lodge, in his study The Huge Appeal of John Bunny writes: “John Bunny was a natural for Mr. Pickwick, and in 1913 he played the part. Vitagraph had seen a chance to increase the already great popularity of Bunny in England by sending him to film there, accompanied by his usual director, Larry Trimble. The voyage across provided a film – Bunny All at Sea (1912) – in which Bunny was the only professional, other parts being taken by passengers. Vitagraph emerged with a useful comedy – Bunny posing as the Captain…Bunny being arrested and set to degrading menial work – and also saved a lot of money.” The film The Pickwick Papers, a three-reeler by Laurence Trimble based on Charles Dicken's classic tale, was released by Vitagraph in 1913 and had Arthur Ricketts as the antagonist Mr. Jingle. A sequel was also produced: The Adventure of the Shooting Party, again with Bunny and Ricketts, directed by Trimble and based on Dickens. Despite what the Italian Wikipedia writes, Bunny's comedy was not slapstick, crass and circus-inspired but polite, middle-class, situational comedy, often situated in domestic settings. Unfortunately, Bunny was disliked by most of her fellow actors at Vitagraph, including Finch herself. Interviews conducted by Anthony Slide in the 1960s and 1970s with former employees of the company revealed that they found him arrogant, short-tempered and generally difficult to work with, a picture in complete contrast to the image of him that is remembered on screen.

 

In 1890, John Bunny married Clara Scallan, with whom he had two sons, George and John Jr, who also later became actors. His brother George Bunny was also an actor. Bunny, whose career only took five years, died of kidney disease in 1915. He was buried at the Cemetery of the Evergreens in Brooklyn. Thanks to the fact that silent films knew no language barriers and to his great popularity, the news of his death occupied the front pages of both American and European newspapers. After his death, the technological advances and innovations brought about by the possibility of performing acrobatic acts soon brought new stars into the world of silent comedy and Bunny was almost completely forgotten. However, for his great contribution to the development of the film industry, a star has been dedicated to him on the Hollywood Walk of Fame at 1715 Vine Street. Several of the Bunny and Finch comedies have been found in the Desmet Collection of the Eye Filmmuseum (Netherlands) and can be found on Eye's YouTube section, such as Stenographer's Troubles, A Stenographer Wanted, Mr. Bolter's Infatuation, Bunny's Suicide, Bunny in Disguise, Pumps, Freckles, Troublesome Stepdaughters, Those Troublesome Tresses, Doctor Bridget, The Pickpocket, and Tangled Tangoists.

 

Sources: Wikipedia (Italian and English ), and IMDb.

 

And, please check out our blog European Film Star Postcards.

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

 

www.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

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

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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).

 

White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.

 

Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.

 

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.

 

Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.

 

Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.

 

Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

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

 

www.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