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      "body": "“Walter Benjamin, as a cultural critic and philosopher, has explored the relationship between art, technology, and society. In regard to contemporary shopping malls, his ideas are of relevance, since he concentrated on the cultural significance of consumerism and the impact of technology on modern life. This can be demonstrated via a comparison of the Super Brand Mall in Shanghai and the Sands Shoppe mall in Macau” (OpenAI, 2023).\n\n“From Benjamin’s perspective, the Super Brand Mall in Shanghai represents the commodification of culture and the homogenization of expesharience. The shopping mall, with its vast array of global brand stores, represents the standardization of culture and the loss of local traditions and practices. Benjamin would argue that the mall creates a false sense of community, where people come together not through shared experiences but through a shared desire to consume” (OpenAI, 2023).\n\n“In contrast, the Sands Shoppe mall in Macau, with its luxurious atmosphere and high-end designer stores, represents the fetishization of commodities. For Benjamin, the shopping center’s focus on luxury goods and high-priced items represents a false consciousness, where people can be assumed to believe that their worth is determined by their ability to acquire expensive things. The mall thus, reinforces the idea that material possessions are the key to happiness and fulfillment, while obscuring the deeper issues of inequality and social injustice that underlie consumer culture” (OpenAI, 2023).\n\n“Overall, from Walter Benjamin’s perspective, both the Super Brand Mall in Shanghai and the Sands Shoppe mall in Macau represent various aspects of the cultural and social implications of consumerism. While the Super Brand Mall places a stress on the global homogenization of culture and the loss of local traditions, the Sands Shoppe mall’s significance revolves around the fetishization of commodities and the false consciousness of globalized, tourism-oriented materialism” (OpenAI, 2023).\n\n“From an economic perspective, the Super Brand Mall in Shanghai and the Sands Shoppe mall in Macau differ in their main parameters and indicators, as well. The Super Brand Mall is one of the largest shopping centers in Asia, with over 13 floors of retail space, a wide range of global brand stores, and an wide array of entertainment options. In contrast, the Sands Shoppe is a luxury shopping center located within the Sands Cotai Central Resort in Macau, with high-end designer stores and fine dining restaurants” (OpenAI, 2023).\n\n“In terms of economic indicators, the Super Brand Mall generates significant revenue and is a major contributor to the local economy. It attracts a large number of domestic and international tourists, who come to shop, dine, and be entertained. In contrast, the Sands Shoppe caters to a more affluent clientele, and its high-end stores and restaurants generate substantial revenue through luxury purchases” (OpenAI, 2023).”\n\n“From a social perspective, the Super Brand Mall and the Sands Shoppe have different implications too. The Super Brand Mall, with its emphasis on global brands and entertainment, creates a sense of cosmopolitanism and cultural exchange. It attracts a diverse mix of people, including visitors, locals, and expats, and provides a space for socializing and community engagement. However, the mall’s focus on consumerism and materialism may also contribute to social inequality and the marginalization of local cultures” (OpenAI, 2023).\n\n“In contrast, the Sands Shoppe is a space that caters to a more exclusive and high-end demographic, where luxury purchases and conspicuous consumption are the norm. While the mall may contribute to the local economy and provide employment opportunities, its focus on luxury goods may also reinforce social stratification and exacerbate income inequality” (OpenAI, 2023).\n\n“Overall, the Super Brand Mall and the Sands Shoppe represent two different approaches to consumerism and commercialism. While the Super Brand Mall emphasizes a more inclusive and diverse approach to shopping and entertainment, the Sands Shoppe caters to a more exclusive clientele” (OpenAI, 2023).\n\nEdited by Pablo Markin\n\nReference\n\nOpenAI. (2023). ChatGPT. [Large language model]. Retrieved from https://chat.openai.com/chat.",
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      "body": "The post discusses the similarities between 19th-century arcades and modern-day shopping malls. \n\n    “\"Wir haben«, sagt der illustrierte Pariser Führer, ein vollständiges\n    Gemälde der Seine-Stadt und ihrer Umgebungen vom Jahre 1852 (,) \"bei den inneren Boulevards wiederholt der Passagen gedacht, die dahin ausmünden. Diese Passagen, eine neuere Erfindung des industriellen Luxus, sind glas gedeckte, marmorgeiäfelte Gänge durch ganze Häuserrnassen, deren Besitzer sich zu solchen\n    Spekulationen vereinigt haben. Zu beiden Seiten dieser Gänge, die ihr Licht von oben erhalten, laufen die elegantesten Warenläden hin, so daß eine solche Passage eine Stadt, eine Welt im Kleinen ist | Flaneur |, in der der Kauflustige alles finden wird, dessen er benötigt. Sie sind bei plötzlichen Regengüssen der Zufluchtsort aller Überraschten, denen sie eine gesicherte, wenn auch beengte Promenade gewähren, bei der die Verkäufer auch ihren Vorteil finden.« | Wetter |\n    Diese Stelle ist der löcus classicus für die Darstellung der Passagen, denn aus ihr entspinnen sich nicht allein die divagations über den Flaneur und das Wetter, sondern auch was über die Bauweise der Passagen in wirtschaftlicher und architektonischer Hinsicht zu sagen ist, könnte hier seine Stelle finden\" (Benjamin, 1991).\n\n\"The passage quoted above describes the arcades, a type of covered passageway that was a recent invention of industrial luxury in the mid-19th century. The arcades were characterized by glass roofs, marble paneling, and elegant shops lining both of these commercial establishments. The arcades were not just a functional built structure but also an environment for the symbolic expression via consumption and sauntering of social status and refinement. Customers found everything they needed within the arcade, and during sudden rain showers, the arcades were a place of refuge for the unprepared” (OpenAI, 2023).\n\n\"From this perspective, shopping malls in global cities might be considered a modern-day version of the arcades described in the passage. Like the arcades, shopping malls are indoor spaces designed for leisure and retail purposes. They offer a sheltered, climate-controlled environment that provides a secure and comfortable shopping experience for their diverse customers. In the present period, shopping malls feature a variety of shops, restaurants, and entertainment options, all conveniently located within a single complex. Just as the arcades were a symbol of luxury and refinement in the 19th century, in existing and emergent global cities shopping malls can be seen as a status symbol and a reflection of modern consumer culture” (OpenAI, 2023).\n\n\"From an economic and architectural perspective, shopping malls are also significant. They are typically built as large-scale landmark projects that require significant investment and collaboration among multiple stakeholders. The design, architecture and construction of shopping malls involve considerations such as site selection, zoning, financing, and environmental impact. The architectural planning of shopping malls often incorporates innovative design elements, such as natural light, water features, and greenery hotspots, to create an inviting and visually appealing environment for shoppers” (OpenAI, 2023).\n\n\"While the arcades of the 19th century may have been a recent invention of industrial luxury, shopping malls have become a modern-day equivalent. Both offer a comfortable, controlled space for customers to shop, socialize, and be entertained. Shopping malls are also significant from an economic and architectural perspective, reflecting the complex collaboration and innovation required to create such large-scale, landscape-defining projects” (OpenAI, 2023).\n\nEdited by Pablo Markin\n\nRerefences\n\nBenjamin, Walter. Gesammelte Schriften, V, 1. Ed. Rolf Tiedemann. Frankfurt am Main: Suhrkamp, 1991. P. 83.\n\nOpenAI. (2023). ChatGPT. [Large language model]. Retrieved from https://chat.openai.com/chat.",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/Jitka-Hanzlova-Water-untitled-2013–2019-copyright-JH-–-S-laskavým-svolením-autorky.-With-courtesy-of-the-author-landscape.jpg</center> <br/>Between November 15, 2019 and February 16, 2020, National Gallery Prague <a href=\"https://www.ngprague.cz/en/exposition-detail/jitka-hanzlova-silences/\">shows</a> the works of Jitka Hanzlova, as part of the exhibition entitled “<em>Silences</em>.”\n\nA Review Article by Pablo Markin.\n\n<hr />\n\n<iframe id=\"speechkit-io-iframe\" style=\"display: none;\" frameborder=\"0\" scrolling=\"no\" allowfullscreen=\"allowfullscreen\" data-src=\"https://spkt.io/a/367391\"></iframe>\n\n<script src=\"https://cdn.jsdelivr.net/npm/@speechkit/speechkit-audio-player@latest/dist/speechkit-iframe-helper.js\" type=\"text/javascript\"></script>\n“Silences,” curated by Adam Budak, is the first extensive survey of Jitka Hanzlová’s works in Czechia, her native country. Her photographic oeuvre that elaborates an identity formation is sampled in this exhibition’s photographic works, such as <em>Rokytnik</em>, referring to a memory trace, time capsule, 1990-94, <em>Water</em>, 2013-2019, Bewohner, which translates as an inhabitant from German, 1994-96, and Vanitas, which thematizes the passing of time, 2008-2012. Hanzlová’s works foreground the topics of social, cultural and political belonging. The catalogue for the exhibition, <em>Jitka Hanzlova, Silences</em>, which is published by König Verlag, comprizes essays by Adam Budak and Urs Stahel, and a conversation between Jitka Hanzlová and Zdenek Felix.\n\nIn this show, Jitka Hanzlová’s images convey different images of silence, as a plural phenomenon. In this exhibition, Hanzlová follows <a href=\"https://en.wikipedia.org/wiki/Clarice_Lispector\">Clarice Lispector</a>, a Brazilian novelist of Jewish-Ukrainian origin, in her reflections on character formation, the representation of silence and and the passage of time. As Lucia Villares argues, for Lispector, her literary characters function as transparent containers for demonstrating large-scale social changes, such as urban transformation, while offering their internalized images. Lispector's works offer a literary representation of the experience of objects as imbued with uncanny, impenetrable, and monolithic presence, while being linked to the critique of modernization as an ideology, a set of imposed ideas. ((Villares, Lucia. \"Modernization and the phantasmagoria of commodities in Clarice Lispector's A cidade sitiada.\" <em>Bulletin of Hispanic Studies</em>, vol. 87, no. 4, 2010, p. 473+. <em>Gale OneFile: Diversity Studies</em>, https://link.gale.com/apps/doc/A244026155/PPDS?u=lirn17237&amp;sid=PPDS&amp;xid=e8085b02. Accessed 14 Nov. 2019.))\n\nJitka Hanzlova originates from the Carpathian Mountains of the Czech Republic. Hanzlova's work differs from nature photography. \"I was looking for the eyes in the forest,\" says Hanzlova of her forest-related photographs, \"but it doesn't work because you cannot see your own eyes.\" In search of her subjective reality, Hanzlova has been photographing her native Rokytnik in 1990 after the Velvet Revolution. \"The first pictures I took were too clear,\" says Hanzlova of her early forest landscapes.\n\nAs Edgar Allen Beem says, where Ansel Adams approached nature as spectacle, Eliot Porter as specimen, and Paul Caponigro as symbol, Hanzlova seeks to represent a hidden presence in her photographs. To capture the seen and the unseen aspects of her subject matter, Hanzlova uses different photographic equipment, such as a 35mm and a 6 x 9 view camera. ((Beem, Edgar Allen. \"Into the woods: Jitka Hanzlova explores the unknown within the forest of her childhood home.\" <em>Photo District News</em>, Nov. 2006, p. 156+. <em>Gale OneFile: Communications and Mass Media</em>, https://link.gale.com/apps/doc/A154694471/PPCM?u=lirn17237&amp;sid=PPCM&amp;xid=a3faa348. Accessed 14 Nov. 2019.))\n\n<em>By Pablo Markin</em>\n\n<hr />\n\nFeatured Image Credits: Jitka Hanzlova, Water, Untitled, 2013–2019 | © Courtesy of Jitka Hanzlova and National Gallery Prague.\n\n<hr />\n\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/jitka-hanzlova-representations-of-silence-and-social-change/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/Jitka-Hanzlova-Water-untitled-2013–2019-copyright-JH-–-S-laskavým-svolením-autorky.-With-courtesy-of-the-author-landscape.jpg</center> <br/>Between November 15, 2019 and February 16, 2020, National Gallery Prague <a href=\"https://www.ngprague.cz/en/exposition-detail/jitka-hanzlova-silences/\">shows</a> the works of Jitka Hanzlova, as part of the exhibition entitled “<em>Silences</em>.”\r\n\r\nA Review Article by Pablo Markin.\r\n\r\n<hr />\r\n<iframe allowfullscreen=\"false\" data-src=\"https://spkt.io/a/367391\" frameborder=\"0\" id=\"speechkit-io-iframe\" scrolling=\"no\" style=\"display: none\"></iframe>\r\n<script src=\"https://cdn.jsdelivr.net/npm/@speechkit/speechkit-audio-player@latest/dist/speechkit-iframe-helper.js\" type=\"text/javascript\"></script>\r\n“Silences,” curated by Adam Budak, is the first extensive survey of Jitka Hanzlová’s works in Czechia, her native country. Her photographic oeuvre that elaborates an identity formation is sampled in this exhibition’s photographic works, such as <em>Rokytnik</em>, referring to a memory trace, time capsule, 1990-94, <em>Water</em>, 2013-2019, Bewohner, which translates as an inhabitant from German, 1994-96, and Vanitas, which thematizes the passing of time, 2008-2012. Hanzlová’s works foreground the topics of social, cultural and political belonging. The catalogue for the exhibition, <em>Jitka Hanzlova, Silences</em>, which is published by König Verlag, comprizes essays by Adam Budak and Urs Stahel, and a conversation between Jitka Hanzlová and Zdenek Felix.\r\n\r\nIn this show, Jitka Hanzlová’s images convey different images of silence, as a plural phenomenon. In this exhibition, Hanzlová follows <a href=\"https://en.wikipedia.org/wiki/Clarice_Lispector\">Clarice Lispector</a>, a Brazilian novelist of Jewish-Ukrainian origin, in her reflections on character formation, the representation of silence and and the passage of time. As Lucia Villares argues, for Lispector, her literary characters function as transparent containers for demonstrating large-scale social changes, such as urban transformation, while offering their internalized images. Lispector's works offer a literary representation of the experience of objects as imbued with uncanny, impenetrable, and monolithic presence, while being linked to the critique of modernization as an ideology, a set of imposed ideas. ((Villares, Lucia. \"Modernization and the phantasmagoria of commodities in Clarice Lispector's A cidade sitiada.\" <em>Bulletin of Hispanic Studies</em>, vol. 87, no. 4, 2010, p. 473+. <em>Gale OneFile: Diversity Studies</em>, https://link.gale.com/apps/doc/A244026155/PPDS?u=lirn17237&amp;sid=PPDS&amp;xid=e8085b02. Accessed 14 Nov. 2019.))\r\n\r\nJitka Hanzlova originates from the Carpathian Mountains of the Czech Republic. Hanzlova's work differs from nature photography. \"I was looking for the eyes in the forest,\" says Hanzlova of her forest-related photographs, \"but it doesn't work because you cannot see your own eyes.\" In search of her subjective reality, Hanzlova has been photographing her native Rokytnik in 1990 after the Velvet Revolution. \"The first pictures I took were too clear,\" says Hanzlova of her early forest landscapes.\r\n\r\nAs Edgar Allen Beem says, where Ansel Adams approached nature as spectacle, Eliot Porter as specimen, and Paul Caponigro as symbol, Hanzlova seeks to represent a hidden presence in her photographs. To capture the seen and the unseen aspects of her subject matter, Hanzlova uses different photographic equipment, such as a 35mm and a 6 x 9 view camera. ((Beem, Edgar Allen. \"Into the woods: Jitka Hanzlova explores the unknown within the forest of her childhood home.\" <em>Photo District News</em>, Nov. 2006, p. 156+. <em>Gale OneFile: Communications and Mass Media</em>, https://link.gale.com/apps/doc/A154694471/PPCM?u=lirn17237&amp;sid=PPCM&amp;xid=a3faa348. Accessed 14 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n\r\nFeatured Image Credits: Jitka Hanzlova, Water, Untitled, 2013–2019 | © Courtesy of Jitka Hanzlova and National Gallery Prague.\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/jitka-hanzlova-representations-of-silence-and-social-change/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/48281382092_9909232f7f_c.jpg</center> <br/>The 58th edition of the Venice Biennale, which is the oldest international art exhibition, has opened to the public in May 2019. As part of this, a bevy of professional previewers from media outlets around the world have browsed its pavilions and appreciated its artworks for notable highlights.\r\n\r\nA  Blog Article by Pablo Markin.\r\n\r\n<hr />\r\n<iframe allowfullscreen=\"false\" data-src=\"https://spkt.io/a/367389\" frameborder=\"0\" id=\"speechkit-io-iframe\" scrolling=\"no\" style=\"display: none\"></iframe>\r\n<script src=\"https://cdn.jsdelivr.net/npm/@speechkit/speechkit-audio-player@latest/dist/speechkit-iframe-helper.js\" type=\"text/javascript\"></script>\r\n\r\nAs Jason Farago of The New York Times notes, this international exhibition, curated in 2019 by Ralph Rugoff, has included about 80 artists in addition to 90 national pavilions organized independently.\r\n\r\nIn 2019, the top jury prize awarded for best national pavilion went to a performance art work by three artists from Lithuania. Notably, 2019 was the first time that Ghana was represented at the Venice biennial. This country's pavilion has featured the Ghanaian-British architect David Adjaye that has installed in a section of the Arsenale temporary internal walls made of African soil. Additionally, the philosopher Kwame Anthony Appiah has written a catalog essay for this show.\r\n\r\nAs opposed to its more intellectual group exhibitions in previous years, the Fondazione Prada has hosted a solo show of Jannis Kounellis, a Greek-born Italian artist, who died in 2017. His poetic installations have made Kounellis a key figure of the Arte Povera artistic movement. ((Farago, Jason. \"Soaking Up Highlights of the Venice Biennale.\" New York Times, 14 May 2019, p. C1(L). Gale General OneFile, https://link.gale.com/apps/doc/A585333169/ITOF?u=lirn17237&amp;sid=ITOF&amp;xid=05b24fb3. Accessed 4 Nov. 2019.))\r\n\r\nSimilarly, per George Webster from CNN, the Giardini area, located in the eastern part of Venice, is the garden that hosts dozens of national pavilions dedicated to the display of contemporary art works from the countries participating in the Venice Biennale. In the Giardini, the \"Ghana Freedom\" exhibition is one of the more spectacular ones. Named after the E. T. Mensah song celebrating independence from the British colonial rule in 1957, the pavilion-based exhibition explores the \"legacies and trajectories of that freedom.\" The show does this through the work of six artists spanning three generations, according to the curatorial commentary.\r\n\r\nThis pavilion offers an expression of Ghana's history that acknowledges the country's colonial experience. In the 2019 edition of the Venice Biennale, many artists have offered a political critique of their countries. One of this year's most interesting exhibitions comes from the Brazilian pavilion. In this pavilion, a double-screen video installation called \"Swinguerra\" provided a flamboyant response to the far-right rhetoric of Jair Bolsonaro, Brazil’s President.\r\n\r\nThe Dutch pavilion has featured another exhibition highlight consisting of works by Surinamese-origin artists. Referring to Suriname that was a colony of the Netherlands until 1975, Iris Kensmil has exhibited large portraits of dark-skinned women that draw on the avant-garde traditions of utopian black feminism.  Turner Prize-winning artist Laure Provoust exhibiting at the French pavilion has stated that, \"in an ideal world, we wouldn't have national barriers.\" According to president of the Venice Biennale, Paolo Baratta, this is precisely the point of this year’s show. ((Webster, George. (2019). \"Venice Biennale 2019: Best of the national pavilions.\" CNN Wire, 22 May 2019. Gale Academic OneFile Select, https://link.gale.com/apps/doc/A586264592/EAIM?u=lirn17237&amp;sid=EAIM&amp;xid=00c2c15d. Accessed 4 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n<p class=\"article-paragraph\">Featured Image Credits: Venice Biennial 2019 (May You Live in Interesting Times), Venice, Italy, May 19, 2019 | © Courtesy of <a href=\"https://www.flickr.com/photos/manybits/48281382092/in/photolist-2gysGNh-2gysFnX-2gysakr-2gys9d1-2gys8oW-2gysBBk-2gys6CM-2gys5EQ-2gys4KZ-2gysxUR-2gys33F-2gyswa3-2gys1pA-2gysuCF-2gyrYAA-2gyssEY-2gysrMa-2gysr9g-2gysqqh-2gyrUDN-2gyrTKt-2gyrSVh-2gysmBa-2gyrQRN-2gyrPSo-2gyrNLq-2gyrMVN-2gysgEX-2gyrKS9-2gyrJYR-2gysdBY-2gyscGG-2gyrFuG-2gyrEFh-2gyrDEQ-2gys8hu-2gyrBjT-2gyrApS-2gyrzjq-2gys3ig-2gys2oW-2gyrvx7-2gyrZsG-2gyrtVE-2gyrXVt-2gyrX6Y-2gyrrBB-2gyrVt4-2gyrq1W-2gyrTHW\">MANYBITS/Flickr</a>.</p>\r\n\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/artists-from-the-global-margins-offer-prominent-exhibition-highlights-at-the-2019-venice-biennale-for-contemporary-art/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/Jitka-Hanzlova-Water-untitled-2013–2019-copyright-JH-–-S-laskavým-svolením-autorky.-With-courtesy-of-the-author-landscape.jpg</center> <br/>Between November 15, 2019 and February 16, 2020, National Gallery Prague <a href=\"https://www.ngprague.cz/en/exposition-detail/jitka-hanzlova-silences/\">shows</a> the works of Jitka Hanzlova, as part of the exhibition entitled “<em>Silences</em>.”\r\n\r\nA Review Article by Pablo Markin.\r\n\r\n<hr />\r\n\r\n“Silences,” curated by Adam Budak, the first extensive survey of Jitka Hanzlová’s works in Czechia, her native country. Her photographic oeuvre that elaborates an identity formation is sampled in this exhibition’s photographic works, such as <em>Rokytnik</em>, referring to a memory trace, time capsule, 1990-94, <em>Water</em>, 2013-2019, Bewohner, which translates as an inhabitant from German, 1994-96, and Vanitas, which thematizes the passing of time, 2008-2012. Hanzlová’s works foreground the topics of social, cultural and political belonging. The catalogue for the exhibition, <em>Jitka Hanzlova, Silences</em>, which is published by König Verlag, comprizes essays by Adam Budak and Urs Stahel, and a conversation between Jitka Hanzlová and Zdenek Felix.\r\n\r\nIn this show, Jitka Hanzlová’s images also convey different images of silence, as a plural phenomenon. In this, Hanzlová follows <a href=\"https://en.wikipedia.org/wiki/Clarice_Lispector\">Clarice Lispector</a>, a Brazilian novelist of Jewish-Ukrainian origin, in her reflections on character formation, the representation of silence and and the passage of time. Also, for Lispector, her literary characters function as transparent containers for demonstrating large-scale social changes, such as urban transformation, while offering their internalized images. Lispector's works offer a literary representation of the experience of objects as imbued with uncanny, impenetrable, and monolithic presence, while being linked to the critique of modernization as an ideology, a set of imposed ideas. ((Villares, Lucia. \"Modernization and the phantasmagoria of commodities in Clarice Lispector's A cidade sitiada.\" <em>Bulletin of Hispanic Studies</em>, vol. 87, no. 4, 2010, p. 473+. <em>Gale OneFile: Diversity Studies</em>, https://link.gale.com/apps/doc/A244026155/PPDS?u=lirn17237&amp;sid=PPDS&amp;xid=e8085b02. Accessed 14 Nov. 2019.))\r\n\r\nJitka Hanzlova originates from the Carpathian Mountains of the Czech Republic. Hanzlova's work differs from nature photography. \"I was looking for the eyes in the forest,\" says Hanzlova of her forest-related photographs, \"but it doesn't work because you cannot see your own eyes.\" In search of her subjective reality, Hanzlova has been photographing her native Rokytnik in 1990 after the Velvet Revolution. \"The first pictures I took were too clear,\" says Hanzlova of her early forest landscapes.\r\n\r\nAs Edgar Allen Beem says, where Ansel Adams approached nature as spectacle, Eliot Porter as specimen, and Paul Caponigro as symbol, Hanzlova seeks to represent a hidden presence in her photographs. To capture the seen and the unseen aspects of her subject matter, Hanzlova uses different photographic equipment, such as a 35mm and a 6 x 9 view camera. ((Beem, Edgar Allen. \"Into the woods: Jitka Hanzlova explores the unknown within the forest of her childhood home.\" <em>Photo District News</em>, Nov. 2006, p. 156+. <em>Gale OneFile: Communications and Mass Media</em>, https://link.gale.com/apps/doc/A154694471/PPCM?u=lirn17237&amp;sid=PPCM&amp;xid=a3faa348. Accessed 14 Nov. 2019.))\r\n\r\nBy Pablo Markin\r\n\r\n<hr />\r\n\r\nFeatured Image Credits: Jitka Hanzlova, Water, Untitled, 2013–2019 | © Courtesy of Jitka Hanzlova and National Gallery Prague.\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/jitka-hanzlova-representations-of-silence-and-social-change/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/48339441757_6bd6b73e6c_c.jpg</center> <br/>The Venice Biennale is the world's most prestigious international art exhibition platform, where artists make contributions based on a curatorial theme in the framework of both group exhibitions and national pavilions.\r\n\r\nA Blog Article by Pablo Markin.\r\n\r\n<hr />\r\n\r\nFor this show, Ralph Rugoff has invited 79 artists, many of whom have used various aesthetic media, such as sculpture, painting and video, for their works exhibited in two separate architectural settings, the Giardini and the Arsenale, in Venice, as a reporter from the Philippines Star newspaper reminds.\r\n\r\nIn addition to the primary curated exhibition in the International Pavilion of the Giardini and the Arsenale, visitors can explore 90 nationally sponsored pavilions as well as 21 collateral exhibitions in which individual artists present their personal take on the theme of the biennale. The top prize of this year's biennial, the Golden Lion for the best national pavilion, was awarded to Lithuanian artists Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite for their work entitled \"Sun and Sea (Marina).\" Curated by Lucia Pietroiusti, it is a performative installation that presents sunbathers of various ages and different nationalities on an artificial white sand beach.\r\n\r\nThe national pavilion of Belgium was awarded a special mention for its \"Mondo Cane\" exhibition, curated by Anne-Claire Schmitz, showing the artworks of Jos de Gruyter and Harald Thys. The American artist Arthur Jafa has received the Golden Lion prize for the best artist with his video titled \"The White Album. \" Likewise, the Cypriot artist Haris Epaminonda received the Silver Lion award as the most promising young artist for her mixed media installation. ((Philippines Star. (2019). \"'A day at the beach' other stories at the 2019 Venice Biennale.\" Philippines Star [Manila, Philippines], 22 Sept. 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A600427527/STND?u=lirn17237&amp;sid=STND&amp;xid=8ac0c18a. Accessed 4 Nov. 2019.))\r\n\r\nThe attention of Laura Cumming of The Observer, was drawn to the Korean pavilion, where ancient and modern dance steps were presented in a sequence of captivating films. The Finnish pavilion, for this year’s biennale, has featured a meadow of flora and fauna blowing across its ceiling: a video projection showing a world turned upside down. The grandest exhibit of the 2019 biennial was considered Martin Puryear 's American pavilion.\r\n\r\nIn the Ghana’s pavilion, in its inaugural show, films by John Akomfrah and eerie portraits of fictional black people by Lynette Yiadom-Boakye were to be seen, in addition to bottle-top hangings and black-and-white portraits from the 1960s by Felicia Abban, Ghana's first professional female photographer. The black South African artist Zanele Muholi mesmerized her work’s viewers with coils of sinister-looking rope nooses for hair.\r\n\r\nThe artwork by the Bahamanian artist Tavares Strachan presented an exquisite memorial to Robert Henry Lawrence as a figure momentarily suspended as it falls to the earth, as it combined drawing and sculpture for a radiant effect. The French pavilion, as a high point of the 2019 biennale, screened a film of epic proportions in which Laure Prouvost offered an original homage to the sea, featuring glass oceans, operatic song and live performers.\r\n\r\nThe international pavilion, curated by Ralph Rugoff, has exhibited contemporary the topics of which comprised the civil rights films of LA's Arthur Jafa, Frida Orupabo's double-take collages of black women, and Lawrence Abu Hamdan's surveillance films. ((Cumming, Laura. (2019). \"Venice Biennale 2019 review -- preaching to the converted; There is much to praise from Ghana, India, France, and a stunning international pavilion. Less admirable is a true horror on the Arsenale...\" The Observer, London, England, 12 May 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A585222673/STND?u=lirn17237&amp;sid=STND&amp;xid=f402db85. Accessed 4 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n<p class=\"article-paragraph\">Featured Image Credits: Lithuanian Pavilion Venice 2019, Venice, Italy, July 21, 2019 | © Courtesy of <a href=\"https://www.flickr.com/photos/manybits/48339441757/in/photolist-2gDAgUZ-2dxsvbb-2hmPamb-23Wjp8B-2edH3dF-2g7BAWr-2hv3kor-2g7BRSg-2g7BAMi-2g7BRPR-2g7BAP2-2g7BRKT-2g7BRGb-2huYzUQ-2hv2nD4-2huYEie-2huYDMp-2hv2nmW-2hv2nW8-2g2tNjr-2huYx1D-a4oK3J-2hv2g5x-2hv2n9G-2hv3r1P-2hv2mzA-2hv3noo-2hv3qKU-2hv2pMh-2huYE2C-2hv2p17-2hv2k5r-2huYBUG-2hv2kQE-2huYES5-2hv2Jtg-2huYzz1-2hv2jF5-2hv3jg6-2hv2pyM-2hv39gg-2hDL3o8-2hDhpMg-2hDNQ1E-2hDPTSG-2hv2huX-2hDPTVN-2hDNQ3i-2hDNPHW-2hDL3jW\">MANYBITS/Flickr</a>.</p>\r\n\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/the-poignant-presence-of-national-pavilions-at-the-venice-biennial-for-contemporary-art-in-2019/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/48339441757_6bd6b73e6c_c.jpg</center> <br/>The Venice Biennale is the world's most prestigious international art exhibition platform, where artists make contributions based on a curatorial theme in the framework of both group exhibitions and national pavilions.\r\n\r\nA Blog Article by Pablo Markin.\r\n\r\n<hr />\r\n\r\nFor this show, Ralph Rugoff has invited 79 artists, many of whom have used various aesthetic media, such as sculpture, painting and video, for their works exhibited in two separate architectural settings, the Giardini and the Arsenale, in Venice, as a reporter from the Philippines Star newspaper reminds.\r\n\r\nIn addition to the primary curated exhibition in the International Pavilion of the Giardini and the Arsenale, visitors can explore 90 nationally sponsored pavilions as well as 21 collateral exhibitions in which individual artists present their personal take on the theme of the biennale. The top prize of this year's biennial, the Golden Lion for the best national pavilion, was awarded to Lithuanian artists Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite for their work entitled \"Sun and Sea (Marina).\" Curated by Lucia Pietroiusti, it is a performative installation that presents sunbathers of various ages and different nationalities on an artificial white sand beach.\r\n<pre class=\"copyable__code js-copyable__text key-552444 test-copyable__text\"></pre>\r\nThe national pavilion of Belgium was awarded a special mention for its \"Mondo Cane\" exhibition, curated by Anne-Claire Schmitz, showing the artworks of Jos de Gruyter and Harald Thys. The American artist Arthur Jafa has received the Golden Lion prize for the best artist with his video titled \"The White Album. \" Likewise, the Cypriot artist Haris Epaminonda received the Silver Lion award as the most promising young artist for her mixed media installation. ((Philippines Star. (2019). \"'A day at the beach' other stories at the 2019 Venice Biennale.\" Philippines Star [Manila, Philippines], 22 Sept. 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A600427527/STND?u=lirn17237&amp;sid=STND&amp;xid=8ac0c18a. Accessed 4 Nov. 2019.))\r\n\r\nThe attention of Laura Cumming of The Observer, was drawn to the Korean pavilion, where ancient and modern dance steps were presented in a sequence of captivating films. The Finnish pavilion, for this year’s biennale, has featured a meadow of flora and fauna blowing across its ceiling: a video projection showing a world turned upside down. The grandest exhibit of the 2019 biennial was considered Martin Puryear 's American pavilion.\r\n\r\nIn the Ghana’s pavilion, in its inaugural show, films by John Akomfrah and eerie portraits of fictional black people by Lynette Yiadom-Boakye were to be seen, in addition to bottle-top hangings and black-and-white portraits from the 1960s by Felicia Abban, Ghana's first professional female photographer. The black South African artist Zanele Muholi mesmerized her work’s viewers with coils of sinister-looking rope nooses for hair.\r\n\r\nThe artwork by the Bahamanian artist Tavares Strachan presented an exquisite memorial to Robert Henry Lawrence as a figure momentarily suspended as it falls to the earth, as it combined drawing and sculpture for a radiant effect. The French pavilion, as a high point of the 2019 biennale, screened a film of epic proportions in which Laure Prouvost offered an original homage to the sea, featuring glass oceans, operatic song and live performers.\r\n\r\nThe international pavilion, curated by Ralph Rugoff, has exhibited contemporary the topics of which comprised the civil rights films of LA's Arthur Jafa, Frida Orupabo's double-take collages of black women, and Lawrence Abu Hamdan's surveillance films. ((Cumming, Laura. (2019). \"Venice Biennale 2019 review -- preaching to the converted; There is much to praise from Ghana, India, France, and a stunning international pavilion. Less admirable is a true horror on the Arsenale...\" The Observer, London, England, 12 May 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A585222673/STND?u=lirn17237&amp;sid=STND&amp;xid=f402db85. Accessed 4 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n<p class=\"article-paragraph\">Featured Image Credits: Lithuanian Pavilion Venice 2019, Venice, Italy, July 21, 2019 | © Courtesy of <a href=\"https://www.flickr.com/photos/manybits/48339441757/in/photolist-2gDAgUZ-2dxsvbb-2hmPamb-23Wjp8B-2edH3dF-2g7BAWr-2hv3kor-2g7BRSg-2g7BAMi-2g7BRPR-2g7BAP2-2g7BRKT-2g7BRGb-2huYzUQ-2hv2nD4-2huYEie-2huYDMp-2hv2nmW-2hv2nW8-2g2tNjr-2huYx1D-a4oK3J-2hv2g5x-2hv2n9G-2hv3r1P-2hv2mzA-2hv3noo-2hv3qKU-2hv2pMh-2huYE2C-2hv2p17-2hv2k5r-2huYBUG-2hv2kQE-2huYES5-2hv2Jtg-2huYzz1-2hv2jF5-2hv3jg6-2hv2pyM-2hv39gg-2hDL3o8-2hDhpMg-2hDNQ1E-2hDPTSG-2hv2huX-2hDPTVN-2hDNQ3i-2hDNPHW-2hDL3jW\">MANYBITS/Flickr</a>.</p>\r\n\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/the-poignant-presence-of-national-pavilions-at-the-venice-biennial-for-contemporary-art-in-2019/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/48339441757_6bd6b73e6c_c.jpg</center> <br/>The Venice Biennale is the world's most prestigious international art exhibition platform, where artists make contributions based on a curatorial theme in the framework of both group exhibitions and national pavilions.\r\n\r\nA Blog Article by Pablo Markin.\r\n\r\n<hr />\r\n\r\nFor this show, Ralph Rugoff has invited 79 artists, many of whom have used various aesthetic media, such as sculpture, painting and video, for their works exhibited in two separate architectural settings, the Giardini and the Arsenale, in Venice, as a reporter from the Philippines Star newspaper reminds.\r\n\r\nIn addition to the primary curated exhibition in the International Pavilion of the Giardini and the Arsenale, visitors can explore 90 nationally sponsored pavilions as well as 21 collateral exhibitions in which individual artists present their personal take on the theme of the biennale. The top prize of this year's biennial, the Golden Lion for the best national pavilion, was awarded to Lithuanian artists Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite for their work entitled \"Sun and Sea (Marina).\" Curated by Lucia Pietroiusti, it is a performative installation that presents sunbathers of various ages and different nationalities on an artificial white sand beach.\r\n<pre class=\"copyable__code js-copyable__text key-552444 test-copyable__text\"><p></p></pre>\r\nThe national pavilion of Belgium was awarded a special mention for its \"Mondo Cane\" exhibition, curated by Anne-Claire Schmitz, showing the artworks of Jos de Gruyter and Harald Thys. The American artist Arthur Jafa has received the Golden Lion prize for the best artist with his video titled \"The White Album. \" Likewise, the Cypriot artist Haris Epaminonda received the Silver Lion award as the most promising young artist for her mixed media installation. ((Philippines Star. (2019). \"'A day at the beach' other stories at the 2019 Venice Biennale.\" Philippines Star [Manila, Philippines], 22 Sept. 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A600427527/STND?u=lirn17237&amp;sid=STND&amp;xid=8ac0c18a. Accessed 4 Nov. 2019.))\r\n\r\nThe attention of Laura Cumming of The Observer, was drawn to the Korean pavilion, where ancient and modern dance steps were presented in a sequence of captivating films. The Finnish pavilion, for this year’s biennale, has featured a meadow of flora and fauna blowing across its ceiling: a video projection showing a world turned upside down. The grandest exhibit of the 2019 biennial was considered Martin Puryear 's American pavilion.\r\n\r\nIn the Ghana’s pavilion, in its inaugural show, films by John Akomfrah and eerie portraits of fictional black people by Lynette Yiadom-Boakye were to be seen, in addition to bottle-top hangings and black-and-white portraits from the 1960s by Felicia Abban, Ghana's first professional female photographer. The black South African artist Zanele Muholi mesmerized her work’s viewers with coils of sinister-looking rope nooses for hair.\r\n\r\nThe artwork by the Bahamanian artist Tavares Strachan presented an exquisite memorial to Robert Henry Lawrence as a figure momentarily suspended as it falls to the earth, as it combined drawing and sculpture for a radiant effect. The French pavilion, as a high point of the 2019 biennale, screened a film of epic proportions in which Laure Prouvost offered an original homage to the sea, featuring glass oceans, operatic song and live performers.\r\n\r\nThe international pavilion, curated by Ralph Rugoff, has exhibited contemporary the topics of which comprised the civil rights films of LA's Arthur Jafa, Frida Orupabo's double-take collages of black women, and Lawrence Abu Hamdan's surveillance films. ((Cumming, Laura. (2019). \"Venice Biennale 2019 review -- preaching to the converted; There is much to praise from Ghana, India, France, and a stunning international pavilion. Less admirable is a true horror on the Arsenale...\" The Observer, London, England, 12 May 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A585222673/STND?u=lirn17237&amp;sid=STND&amp;xid=f402db85. Accessed 4 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n<p class=\"article-paragraph\">Featured Image Credits: Lithuanian Pavilion Venice 2019, Venice, Italy, July 21, 2019 | © Courtesy of <a href=\"https://www.flickr.com/photos/manybits/48339441757/in/photolist-2gDAgUZ-2dxsvbb-2hmPamb-23Wjp8B-2edH3dF-2g7BAWr-2hv3kor-2g7BRSg-2g7BAMi-2g7BRPR-2g7BAP2-2g7BRKT-2g7BRGb-2huYzUQ-2hv2nD4-2huYEie-2huYDMp-2hv2nmW-2hv2nW8-2g2tNjr-2huYx1D-a4oK3J-2hv2g5x-2hv2n9G-2hv3r1P-2hv2mzA-2hv3noo-2hv3qKU-2hv2pMh-2huYE2C-2hv2p17-2hv2k5r-2huYBUG-2hv2kQE-2huYES5-2hv2Jtg-2huYzz1-2hv2jF5-2hv3jg6-2hv2pyM-2hv39gg-2hDL3o8-2hDhpMg-2hDNQ1E-2hDPTSG-2hv2huX-2hDPTVN-2hDNQ3i-2hDNPHW-2hDL3jW\">MANYBITS/Flickr</a>.</p>\r\n\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/the-poignant-presence-of-national-pavilions-at-the-venice-biennial-for-contemporary-art-in-2019/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/48339441757_6bd6b73e6c_c.jpg</center> <br/>The Venice Biennale is the world's most prestigious international art exhibition platform, where artists make contributions based on a curatorial theme in the framework of both group exhibitions and national pavilions.\r\n\r\nA Blog Article by Pablo Markin.\r\n\r\n<hr />\r\n\r\nFor this show, Ralph Rugoff has invited 79 artists, many of whom have used various aesthetic media, such as sculpture, painting and video, for their works exhibited in two separate architectural settings, the Giardini and the Arsenale, in Venice, as a reporter from the Philippines Star newspaper reminds.\r\n\r\nIn addition to the primary curated exhibition in the International Pavilion of the Giardini and the Arsenale, visitors can explore 90 nationally sponsored pavilions as well as 21 collateral exhibitions in which individual artists present their personal take on the theme of the biennale. The top prize of this year's biennial, the Golden Lion for the best national pavilion, was awarded to Lithuanian artists Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite for their work entitled \"Sun and Sea (Marina).\" Curated by Lucia Pietroiusti, it is a performative installation that presents sunbathers of various ages and different nationalities on an artificial white sand beach.\r\n\r\nThe national pavilion of Belgium was awarded a special mention for its \"Mondo Cane\" exhibition, curated by Anne-Claire Schmitz, showing the artworks of Jos de Gruyter and Harald Thys. The American artist Arthur Jafa has received the Golden Lion prize for the best artist with his video titled \"The White Album. \" Likewise, the Cypriot artist Haris Epaminonda received the Silver Lion award as the most promising young artist for her mixed media installation. ((Philippines Star. (2019). \"'A day at the beach' other stories at the 2019 Venice Biennale.\" Philippines Star [Manila, Philippines], 22 Sept. 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A600427527/STND?u=lirn17237&amp;sid=STND&amp;xid=8ac0c18a. Accessed 4 Nov. 2019.))\r\n\r\nThe attention of Laura Cumming of The Observer, was drawn to the Korean pavilion, where ancient and modern dance steps were presented in a sequence of captivating films. The Finnish pavilion, for this year’s biennale, has featured a meadow of flora and fauna blowing across its ceiling: a video projection showing a world turned upside down. The grandest exhibit of the 2019 biennial was considered Martin Puryear 's American pavilion.\r\n\r\nIn the Ghana’s pavilion, in its inaugural show, films by John Akomfrah and eerie portraits of fictional black people by Lynette Yiadom-Boakye were to be seen, in addition to bottle-top hangings and black-and-white portraits from the 1960s by Felicia Abban, Ghana's first professional female photographer. The black South African artist Zanele Muholi mesmerized her work’s viewers with coils of sinister-looking rope nooses for hair.\r\n\r\nThe artwork by the Bahamanian artist Tavares Strachan presented an exquisite memorial to Robert Henry Lawrence as a figure momentarily suspended as it falls to the earth, as it combined drawing and sculpture for a radiant effect. 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Accessed 4 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n<p class=\"article-paragraph\">Featured Image Credits: Lithuanian Pavilion Venice 2019, Venice, Italy, July 21, 2019 | © Courtesy of <a href=\"https://www.flickr.com/photos/manybits/48339441757/in/photolist-2gDAgUZ-2dxsvbb-2hmPamb-23Wjp8B-2edH3dF-2g7BAWr-2hv3kor-2g7BRSg-2g7BAMi-2g7BRPR-2g7BAP2-2g7BRKT-2g7BRGb-2huYzUQ-2hv2nD4-2huYEie-2huYDMp-2hv2nmW-2hv2nW8-2g2tNjr-2huYx1D-a4oK3J-2hv2g5x-2hv2n9G-2hv3r1P-2hv2mzA-2hv3noo-2hv3qKU-2hv2pMh-2huYE2C-2hv2p17-2hv2k5r-2huYBUG-2hv2kQE-2huYES5-2hv2Jtg-2huYzz1-2hv2jF5-2hv3jg6-2hv2pyM-2hv39gg-2hDL3o8-2hDhpMg-2hDNQ1E-2hDPTSG-2hv2huX-2hDPTVN-2hDNQ3i-2hDNPHW-2hDL3jW\">MANYBITS/Flickr</a>.</p>\r\n\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/the-poignant-presence-of-national-pavilions-at-the-venice-biennial-for-contemporary-art-in-2019/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/48339441757_6bd6b73e6c_c.jpg</center> <br/>The Venice Biennale is the world's most prestigious international art exhibition platform, where artists make contributions based on a curatorial theme in the framework of both group exhibitions and national pavilions.\r\n\r\nA Blog Article by Pablo Markin.\r\n\r\n<hr />\r\n\r\nFor this show, Ralph Rugoff has invited 79 artists, many of whom have used various aesthetic media, such as sculpture, painting and video, for their works exhibited in two separate architectural settings, the Giardini and the Arsenale, in Venice, as a reporter from the Philippines Star newspaper reminds.\r\n\r\nIn addition to the primary curated exhibition in the International Pavilion of the Giardini and the Arsenale, visitors can explore 90 nationally sponsored pavilions as well as 21 collateral exhibitions in which individual artists present their personal take on the theme of the biennale. The top prize of this year's biennial, the Golden Lion for the best national pavilion, was awarded to Lithuanian artists Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite for their work entitled \"Sun and Sea (Marina).\" Curated by Lucia Pietroiusti, it is a performative installation that presents sunbathers of various ages and different nationalities on an artificial white sand beach.\r\n\r\nThe national pavilion of Belgium was awarded a special mention for its \"Mondo Cane\" exhibition, curated by Anne-Claire Schmitz, showing the artworks of Jos de Gruyter and Harald Thys. The American artist Arthur Jafa has received the Golden Lion prize for the best artist with his video titled \"The White Album. \" Likewise, the Cypriot artist Haris Epaminonda received the Silver Lion award as the most promising young artist for her mixed media installation. ((Philippines Star. (2019). \"'A day at the beach' other stories at the 2019 Venice Biennale.\" Philippines Star [Manila, Philippines], 22 Sept. 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A600427527/STND?u=lirn17237&amp;sid=STND&amp;xid=8ac0c18a. Accessed 4 Nov. 2019.))\r\n\r\nThe attention of Laura Cumming of The Observer, was drawn to the Korean pavilion, where ancient and modern dance steps were presented in a sequence of captivating films. The Finnish pavilion, for this year’s biennale, has featured a meadow of flora and fauna blowing across its ceiling: a video projection showing a world turned upside down. The grandest exhibit of the 2019 biennial was considered Martin Puryear 's American pavilion.\r\n\r\nIn the Ghana’s pavilion, in its inaugural show, films by John Akomfrah and eerie portraits of fictional black people by Lynette Yiadom-Boakye were to be seen, in addition to bottle-top hangings and black-and-white portraits from the 1960s by Felicia Abban, Ghana's first professional female photographer. The black South African artist Zanele Muholi mesmerized her work’s viewers with coils of sinister-looking rope nooses for hair.\r\n\r\nThe artwork by the Bahamanian artist Tavares Strachan presented an exquisite memorial to Robert Henry Lawrence as a figure momentarily suspended as it falls to the earth, as it combined drawing and sculpture for a radiant effect. The French pavilion, as a high point of the 2019 biennale, screened a film of epic proportions in which Laure Prouvost offered an original homage to the sea, featuring glass oceans, operatic song and live performers.\r\n\r\nThe international pavilion, curated by Ralph Rugoff, has exhibited contemporary the topics of which comprised the civil rights films of LA's Arthur Jafa, Frida Orupabo's double-take collages of black women, and Lawrence Abu Hamdan's surveillance films. ((Cumming, Laura. (2019). \"Venice Biennale 2019 review -- preaching to the converted; There is much to praise from Ghana, India, France, and a stunning international pavilion. Less admirable is a true horror on the Arsenale...\" The Observer, London, England, 12 May 2019. Gale OneFile: News, https://link.gale.com/apps/doc/A585222673/STND?u=lirn17237&amp;sid=STND&amp;xid=f402db85. Accessed 4 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n<p class=\"article-paragraph\">Featured Image Credits: Lithuanian Pavilion Venice 2019, Venice, Italy, July 21, 2019 | © Courtesy of <a href=\"https://www.flickr.com/photos/manybits/48339441757/in/photolist-2gDAgUZ-2dxsvbb-2hmPamb-23Wjp8B-2edH3dF-2g7BAWr-2hv3kor-2g7BRSg-2g7BAMi-2g7BRPR-2g7BAP2-2g7BRKT-2g7BRGb-2huYzUQ-2hv2nD4-2huYEie-2huYDMp-2hv2nmW-2hv2nW8-2g2tNjr-2huYx1D-a4oK3J-2hv2g5x-2hv2n9G-2hv3r1P-2hv2mzA-2hv3noo-2hv3qKU-2hv2pMh-2huYE2C-2hv2p17-2hv2k5r-2huYBUG-2hv2kQE-2huYES5-2hv2Jtg-2huYzz1-2hv2jF5-2hv3jg6-2hv2pyM-2hv39gg-2hDL3o8-2hDhpMg-2hDNQ1E-2hDPTSG-2hv2huX-2hDPTVN-2hDNQ3i-2hDNPHW-2hDL3jW\">MANYBITS/Flickr</a>.</p> <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/the-poignant-presence-of-national-pavilions-at-the-venice-biennial-for-contemporary-art-in-2019/ </em><hr/></center>   ",
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      "body": "<center>https://signsmodesassemblages.com/wp-content/uploads/2019/11/48281382092_9909232f7f_c.jpg</center> <br/>The 58th edition of the Venice Biennale, which is the oldest international art exhibition, has opened to the public in May 2019. As part of this, a bevy of professional previewers from media outlets around the world have browsed its pavilions and appreciated its artworks for notable highlights.\r\n\r\nA  Blog Article by Pablo Markin.\r\n\r\n<hr />\r\n\r\nAs Jason Farago of The New York Times notes, this international exhibition, curated in 2019 by Ralph Rugoff, has included about 80 artists in addition to 90 national pavilions organized independently.\r\n\r\nIn 2019, the top jury prize awarded for best national pavilion went to a performance art work by three artists from Lithuania. Notably, 2019 was the first time that Ghana was represented at the Venice biennial. This country's pavilion has featured the Ghanaian-British architect David Adjaye that has installed in a section of the Arsenale temporary internal walls made of African soil. Additionally, the philosopher Kwame Anthony Appiah has written a catalog essay for this show.\r\n\r\nAs opposed to its more intellectual group exhibitions in previous years, the Fondazione Prada has hosted a solo show of Jannis Kounellis, a Greek-born Italian artist, who died in 2017. His poetic installations have made Kounellis a key figure of the Arte Povera artistic movement. ((Farago, Jason. \"Soaking Up Highlights of the Venice Biennale.\" New York Times, 14 May 2019, p. C1(L). Gale General OneFile, https://link.gale.com/apps/doc/A585333169/ITOF?u=lirn17237&amp;sid=ITOF&amp;xid=05b24fb3. Accessed 4 Nov. 2019.))\r\n\r\nSimilarly, per George Webster from CNN, the Giardini area, located in the eastern part of Venice, is the garden that hosts dozens of national pavilions dedicated to the display of contemporary art works from the countries participating in the Venice Biennale. In the Giardini, the \"Ghana Freedom\" exhibition is one of the more spectacular ones. Named after the E. T. Mensah song celebrating independence from the British colonial rule in 1957, the pavilion-based exhibition explores the \"legacies and trajectories of that freedom.\" The show does this through the work of six artists spanning three generations, according to the curatorial commentary.\r\n\r\nThis pavilion offers an expression of Ghana's history that acknowledges the country's colonial experience. In the 2019 edition of the Venice Biennale, many artists have offered a political critique of their countries. One of this year's most interesting exhibitions comes from the Brazilian pavilion. In this pavilion, a double-screen video installation called \"Swinguerra\" provided a flamboyant response to the far-right rhetoric of Jair Bolsonaro, Brazil’s President.\r\n\r\nThe Dutch pavilion has featured another exhibition highlight consisting of works by Surinamese-origin artists. Referring to Suriname that was a colony of the Netherlands until 1975, Iris Kensmil has exhibited large portraits of dark-skinned women that draw on the avant-garde traditions of utopian black feminism.  Turner Prize-winning artist Laure Provoust exhibiting at the French pavilion has stated that, \"in an ideal world, we wouldn't have national barriers.\" According to president of the Venice Biennale, Paolo Baratta, this is precisely the point of this year’s show. ((Webster, George. (2019). \"Venice Biennale 2019: Best of the national pavilions.\" CNN Wire, 22 May 2019. Gale Academic OneFile Select, https://link.gale.com/apps/doc/A586264592/EAIM?u=lirn17237&amp;sid=EAIM&amp;xid=00c2c15d. Accessed 4 Nov. 2019.))\r\n\r\n<em>By Pablo Markin</em>\r\n\r\n<hr />\r\n<p class=\"article-paragraph\">Featured Image Credits: Venice Biennial 2019 (May You Live in Interesting Times), Venice, Italy, May 19, 2019 | © Courtesy of <a href=\"https://www.flickr.com/photos/manybits/48281382092/in/photolist-2gysGNh-2gysFnX-2gysakr-2gys9d1-2gys8oW-2gysBBk-2gys6CM-2gys5EQ-2gys4KZ-2gysxUR-2gys33F-2gyswa3-2gys1pA-2gysuCF-2gyrYAA-2gyssEY-2gysrMa-2gysr9g-2gysqqh-2gyrUDN-2gyrTKt-2gyrSVh-2gysmBa-2gyrQRN-2gyrPSo-2gyrNLq-2gyrMVN-2gysgEX-2gyrKS9-2gyrJYR-2gysdBY-2gyscGG-2gyrFuG-2gyrEFh-2gyrDEQ-2gys8hu-2gyrBjT-2gyrApS-2gyrzjq-2gys3ig-2gys2oW-2gyrvx7-2gyrZsG-2gyrtVE-2gyrXVt-2gyrX6Y-2gyrrBB-2gyrVt4-2gyrq1W-2gyrTHW\">MANYBITS/Flickr</a>.</p>\r\n\r\n\r\n<hr />\r\n\r\n[cite] <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : https://signsmodesassemblages.com/artists-from-the-global-margins-offer-prominent-exhibition-highlights-at-the-2019-venice-biennale-for-contemporary-art/ </em><hr/></center>   ",
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      "body": "Congratulations @pbmarkin! You have completed the following achievement on the Steem blockchain and have been rewarded with new badge(s) :\n\n<table><tr><td><img src=\"https://steemitimages.com/60x70/http://steemitboard.com/@pbmarkin/posts.png?201911052050\"></td><td>You published more than 10 posts. Your next target is to reach 20 posts.</td></tr>\n</table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@pbmarkin) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=pbmarkin)_</sub>\n<sub>_If you no longer want to receive notifications, reply to this comment with the word_ `STOP`</sub>\n\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/steemfest/@steemitboard/steemfest-meet-the-steemians-contest\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmasWw4jQHwxng82DKxY6Q6tVg9mWcto4xcDURs8knFgCa/image.png\"></a></td><td><a href=\"https://steemit.com/steemfest/@steemitboard/steemfest-meet-the-steemians-contest\">SteemFest⁴  - Meet the Steemians Contest</a></td></tr></table>\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "body": "At the second floor of the three-levels Louis Vuitton store in Shanghai, one could see a stylish hammock as a center-piece exhibit on which lay a book in French describing traveling experience through the eyes, letters and novels of Marcel Proust. Apart from elegant prose in which the book covers invited its readers to immerse themselves into the pleasures of travel by bus, train, ship and carriage, it is the strange similarity of everyday life in the late nineteenth and early twentieth century to the present day that struck me as peculiar. The world of everyday experiences and impressions is definitely present at art exhibitions as well, as both modern and contemporary artworks do not shy away from focusing upon the minutiae of hospital interiors, rural highways and domestic environments. Moreover, alongside his more abstract images, Henri Cartier-Bresson also took photographs of modern artists of his generation that let them appear from the perspective of their everyday life.\n\nThis at first glance incongruous combination of everyday life and modern art has to a large extent been the subject of Proust's <em>In Search of Lost Time </em>that more than anything gave everyday experiences their due as means by which precious involuntary recollections are released, mordant social observations are received assess to, and aesthetic perception is trained on mundane objects. Luxury merchandise in this respect takes this perspective a step further by elevating everyday objects to the status of nearly works of art existing in limited editions as photographic prints, made on order as portraits historically were, and conferring status not unlike collecting works of art might afford. Similarly, the everyday character of contemporary art makes it as accessible to the general public as prestigious brand-names are in terms of their near-automatic recognition as what they are in the field of art and in cultural consumption. In other words, the self-effacing quality of contemporary art and the affected simplicity of luxury accessories disavows the distance from everyday objects that constitutes their identity.\n\nHowever, this distance, these distinctions and these differentiations are precisely part of the social, cultural and everyday world that Proust exhaustively documents. In this sense, Louis Vuitton Shanghai self-reflexively closes the circle between the artifice that turns everyday objects into signs of luxury and the reality of these accessories as means for a private dramatization of everyday life. In this regard, it is difficult to think of an author better suited to this task of measuring the distance between perception and objectivity than Marcel Proust.\n\n&nbsp;\n\n<hr />\n\n&nbsp;\n\n[cite]",
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      "body": "Hi! I am a robot. I just upvoted you! I found similar content that readers might be interested in:\nhttps://sma.hypotheses.org/52",
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      "body": "La façon dont Werner Sombart (1913: 2) connecte  le luxe et le capitalisme attire l'attention sur les cours royales et papales de fin du Moyen Age et début de la Renaissance comme les lieux où la forme dans laquelle les développements futurs des structures gouvernementales se manifesteront a frappé ses racines. Ces précurseurs courtois de la société moderne avaient créé les premiers groupes sociaux qui ont eu seulement des intérêts auto-référentielles de ce point central de la vie économique, sociale et culturelle comme leur but auquel ils ont servi dans leur rôle des courtiers et courtisanes conférant avec leur esprit et leurs manières une influence formative à ces sites. Avec cette concentration sur la vie de cour, Sombart (1913: 2-3) lie l'esprit du capitalisme avec le luxe  que il connecte avec la société courtoise. En outre, ces résidences royales et les villes principales, où la haute société eut littéralement fait la cour, ont attiré des lumières intellectuelles et culturels de leurs époques.\n\nLe luxe et la sophistication avec lesquelles la vie de cour était progressivement associé dans une manière intégrale pendent les siècles suivant (Sombart, 1913: 3) sont devenu le prototype de la gloire mondaine qui ne cesse pas de s'incarner en formes contemporaines de la mode, le cinéma et les industries du divertissement. En d'autres termes, ce sont surtout les endroits où des modes de sociabilité, ainsi que les traditions intellectuelles et culturelles, ont pris leur point d'origine et ont obtenu leur forme encore reconnaissable qui semblent avoir leur impact perdurable sur la vie sociale, intellectuelle et culturelle, quand et où se produisent des conditions convenables. Comme une comparaison apte peuvent servir des expositions d'art de grands maîtres européens pour lesquels il est nécessaire à avoir des certaines qualités techniques de salles d'exposition,  des assurances financiers par les musées invitants et l’existence des affinités culturelles de la grand public. En ce sens, certains fonctions de la société d'aujourd'hui se dérivent des leurs homologues dans les sociétés d'autrefois qui continue à exister sous le couvert de la culture publique.\n\nMagasins de luxe et des marques mondiales, comme telles que le boutique de Louis Vuitton à Shanghai représente, sont semblables aux musées et galeries d'art, car ces-là nécessitent des conditions similaires à celles qui fournissent apparemment la base pour la reproduction culturelle de ces-ci dans une ville donnée. Dès lors que  la consommation culturelle s’appuie principalement sur la vie urbaine,  en Chine ce rapport entre les deux phénomènes est fréquemment décrit en fond de sa développement économique servant comme une base pour sa consommation croissante de biens de luxe. Par contre, je soutiens une point de vue selon laquelle la combinaison de luxe et le capitalisme est plus profonde que sa association superficielle pourrait le suggérer. À cet égard, la position de Sombart semble être que la présence croissante de luxe est indicative des grands changements culturels. Ce que les rapports entre les villes globales et consommation vont au-delà de  la démonstration du pouvoir d'achat simple se réfléchisse dans leurs centres commerciaux, quartiers de restaurants, et l'architecture le long des promenades. Quand il s'agit à fournir un point de comparaison à Shanghai, New York est une ville au niveau mondial la culture de laquelle a été construite au cours de développement historique ayant  certains tournants qui ont été marqués par leur indicateurs urbaines.\n\n<hr />\n\n&nbsp;\n\n[cite]",
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