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The Olympics Begin on NBC With Abstract Imagery, Drones and Dancing


The Olympics opening ceremony is always a real-time visual puzzle, full of abstract imagery and figurative dance saying something — I guess — about global ideals and national character. But you did not need a decoder ring to tease out the symbolism of the restrained pageant that began the Tokyo Games.

A video animation swooped downward and homed in on the image of a seed. On the field, a lone figure stood in a green spotlight, backed by the shadow of an unfolding sprout. Fluid lights undulated on the field surface, mimicking the coursing of blood. There was video of empty cityscapes and of athletes training in solitude.

You get the idea: Life. Life disrupted, persisting, driven nonetheless to express itself.

But there was a powerful counter-image in the broadcast, expressed in absence and negative space. Behind all the artistry were the banks and banks of stands in a mostly depopulated stadium, representing — not at all abstractly — the continuing danger for a world, and a host city, still struggling with a Covid-19 pandemic that is not over and not receding everywhere equally. The Japanese flag rose up the ceremonial pole against a ghostly backdrop of empty seats.

With few spectators on hand, this ceremony and these Games are a made-for-TV event even more than they usually are. And these images communicated the tension for both host and broadcaster. Is this year’s Olympic spirit one of resilience or of hubris? Is NBC covering — and participating in — a celebration or a catastrophe?

There were indications of both at once. The international athletes, who ordinarily join the Parade of Nations to massive cheers, entered a quiet stadium, smiling with their eyes while sporting face masks in festive national colors.

It was not the boisterous return-to-life party we might have hoped for a year ago, nor was it the retreat we might have expected. It was a halfway, transitional ceremony for a halfway, transitional, precarious moment.

And for NBC, covering the ceremony live for U.S. morning TV, it meant an awkward balancing act for an event that it is used to covering as an expensive party.

After a year’s postponement — the ubiquitous logo “Tokyo 2020,” no typo, was a constant reminder — the Games began over the objections of most people in Japan, fearful of a superspreader event as the country fought to keep Covid in check. These Games are something that much of the world needed and the last thing that many in the actual host city wanted.

There have been controversies in and about other Olympic Games; there have already been controversies at this one. But this time, the existence of these Games themselves is the biggest controversy — one that NBC is inevitably implicated in.

A big reason the Games are barreling ahead is money — the billions that would be lost if they were canceled or further postponed. A big source of that money is TV. And chief among the Olympics’ TV partners is NBC Universal. Like the life force visualized in the opening performance, corporate money pulses behind everything the Games do.

This leaves NBC to cover as a news story an Olympics that it is airing and funding as entertainment. And it left the network’s morning anchors, Savannah Guthrie and Mike Tirico, juggling tone and focus, trying to meet the moment without bumming out the audience it wants to tune in for two weeks.

Judging from the morning’s coverage, one strategy will be to focus on the feel-better stories of the athletes. “When you keep your focus on them, when you think about them finally getting their moment,” Guthrie said before the ceremony, “I think that’s why we’re still so excited to be here.”

And look, who wouldn’t rather focus on sports during the Olympics? Who doesn’t want to unclench and have fun and give these athletes their hard-earned attention?

We’ve been through a lot, after all. The ceremony included a deeply moving image of solo figures on the field, training together but separately. It brought back a flood of feelings from the past year, memories of isolating and deferring plans and trying to keep hopes and plans alive. As the U.S. Olympic team entered, NBC took live commentary from the flag bearers, Sue Bird and Eddy Alvarez. “I know our country’s in a tough moment right now,” Bird said, “but right now, we all feel unified and it’s incredible.”

Even what was just about the athletes at this ceremony was not just about the athletes.

It made for some dissonant moments. As India took the field during the Parade of Nations, Tirico noted the country’s devastation in the recent wave of the pandemic. But as it was followed by Indonesia, there was no mention of that populous country’s having recently hit record levels of Covid cases and deaths. “Badminton is big in Indonesia!” Guthrie said. “Wildly popular!”

It is possible, maybe unavoidable, to both love these Games and fear them. But it will also be a test for NBC as a news outlet not to use the Olympians to avoid the Olympics.

Reality will intrude regardless, in more ways than one. As the Parade of Nations continued, NBC put some delegations — sorry, Haiti; better luck next time, Vanuatu — picture-in-picture with the ads (full of cheery, unmasked faces) during commercial breaks. These included an anime spot for Taco Bell, a cross-cultural reminder that the Olympics, in the end, are big business.

But there were still priceless moments. The ceremony also gave us a hovering globe composed of pinpoints of light from 1,800 drones; a torch relay involving athletes, health-care workers and a group of children representing regions of Japan devastated by the 2011 earthquake and tsunami; and the tennis star Naomi Osaka lighting the Olympic cauldron atop a stylized Mount Fuji.

Any Olympics in any year is bound to produce highlights. The challenge for NBC will be to capture the whole along with the parts, in a Games that is about more than just games.


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What to Do This Weekend


Welcome. If it’s tomato season where you are, it’s a good weekend to make Melissa Clark’s easy tomato sandwich, which she recommends eating over the sink (to catch the juices). In fact, we’ve got a whole slew of tomato recipes to put your market haul to good, delicious use. What are you waiting for?

The Olympics are on, of course, if you’re sticking close to home. If you’re longing to get out, “small travel” to a town nearby might satisfy your wanderlust. The writer Alexander Lobrano has a lovely account of a brief jaunt he took just 45 miles from his home. He writes:

What the Covid years have taught me again is that any journey, no matter how brief or local, is a success if it provokes and feeds my curiosity, and that yes, for me it will always be wonderful to just go, anywhere.

I love the idea of taking a little vacation to a spot nearby. Of course, for Lobrano, 45 miles away is a resort on the Mediterranean; most of us are not quite so geographically blessed. But he insists that he got the same thrill taking the subway to Rockaway Beach when he lived in New York City.

Maybe your destination is a few exits down the highway to a town you’ve driven through for years but never actually visited. Maybe it’s that train or bus stop that’s only ever been a conductor’s announcement on your commute. You could check it out this weekend.

How are you leading a full and cultured life, at home and away from home, these days? Tell us about it: [email protected]. Include your full name and location and we might feature your story in a future newsletter. We’re At Home and Away. We’ll read every letter sent. More ideas for how to pass the time this weekend appear below. See you next week.


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A Son of Gabriel García Márquez Tenderly Recalls His Parents


Even as his dementia advanced, Gabo, as García Márquez was affectionately known, retained his wry humor: “I’m losing my memory,” he remarked, “but fortunately I forget that I’m losing it.” He was still able to recite poems from the Spanish Golden Age from memory and sing the lyrics to his favorite vallenato songs, his eyes beaming “with excitement at the opening accordion notes.” At one point, García Márquez asked to return home to his childhood bed in Aracataca, Colombia, where he slept on a mattress next to the bed of his grandfather Col. Nicolás Márquez, the inspiration for the beloved Col. Aureliano Buendía in “One Hundred Years of Solitude.”

Then there is Mercedes, Gabo’s tireless co-conspirator, his “last tether.” Garcia recalls her tempered reaction at the moment of her husband’s death, when she worked swiftly with the nurse to prepare his body and let out only the briefest of cries before recomposing herself. She was fiercely independent: After Mexico’s president referred to her as “the widow” during a memorial service for García Márquez at the Palace of Fine Arts in Mexico City, she threatened to tell the first journalist she encountered of her plans to remarry. Even in the days before her death in August 2020, Garcia recalls, she remained “frank and secretive, critical and indulgent,” sneaking cigarette puffs despite suffering from respiratory problems at the end.

Garcia’s account is honest — perhaps to a fault, given the strict division his parents imposed between their public and private lives. In 1957, a full decade before the publication of “One Hundred Years of Solitude,” García Márquez destroyed all records of his correspondence with Barcha. Even with his father’s blessing — García Márquez told him, “When I’m dead, do whatever you want” — Garcia describes the disappointment and shame he feels of riding his father’s coattails: “I am aware that whatever I write concerning his last days can easily find publication, regardless of its quality.”

“A Farewell to Gabo and Mercedes” is in large part carried by anecdotes about García Márquez’s life, but it is most telling when Garcia is prompted to reflect on his own, and reckon with his insecurities. Over the course of writing the memoir, he becomes aware that the wall his parents constructed around their private lives also extended, in part, to him. He spent 50 years not knowing that his father had no vision in the center of his left eye, and learned only toward the end of his mother’s life that she had lost two siblings as a child. “In the back of my mind is the preoccupation that perhaps I didn’t know them well enough,” Garcia writes. “I didn’t ask them more about the fine print of their lives, their most private thoughts, their greatest hopes and fears.”


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Arturo Schwarz, Refugee Who Became a Surrealism Tycoon, Dies at 97


Growing up in the 1930s and ’40s in the cosmopolitan port city of Alexandria, Egypt, Arturo Schwarz idolized European intellectuals.

At about age 20 he struck up a correspondence with Surrealism’s chief theorist, André Breton. He also helped found an Egyptian branch of the Fourth International, the dissident communist group that pledged allegiance to Leon Trotsky.

But Mr. Schwarz’s youth of aesthetic contemplation and bookish activism was brought to a brutal halt in 1947, when the Egyptian authorities deemed him subversive and made him a political prisoner.

One morning in early 1949, his jailers gave him a shave. Mr. Schwarz readied himself for the gallows. Instead, he was brought to a port and expelled to his mother’s country of origin, Italy.

“I arrived naked, like a worm,” he said later. “I had nothing — nothing — not a piece of bread, not one lira.”

This penniless young radical in a strange land did possess something else that would prove to be of greater enduring value: the ability to befriend art-world giants like Breton. He went on to found a prominent gallery devoted to Dadaist and Surrealist art in Milan and become probably the world’s greatest self-made collector and donor of work from those artistic movements.

He died at 97 on June 23 at a hospital in Genoa, Italy. The cause was a stroke, his daughter, Silvia Schwarz Linder, said.

By 1954, after a few years in the import-export business, Mr. Schwarz had saved up enough to open a bookstore, which he turned into Galleria Schwarz, a vehicle for exhibiting and selling art. In focusing on Dadaism and Surrealism, he curated exhibitions devoted to figures like René Magritte, Joan Miró, Man Ray and Marcel Duchamp.

“At the time, Duchamp had been completely forgotten,” Mr. Schwarz once recalled in a panel discussion. “I put him back in the picture.”

By the 1960s and ’70s, Mr. Schwarz had grown close enough to Duchamp and Man Ray for the two artists to entrust him with producing replicas of their old works, which they would then authenticate with their signatures. That resulted in 10 copies of 10 works by Man Ray and eight copies of 16 works by Duchamp, all intended for the market, along with extras intended for museums, the artists and Mr. Schwarz personally.

The originals of some of these artworks, including two of Duchamp’s ready-mades from the 1910s, “Hat Rack” and “Trap,” had been lost without being recreated in any other form.

Adina Kamien, a senior curator at the Israel Museum in Jerusalem, said that without Mr. Schwarz, the public would never have been able to see some classic works of art. “He saved them from oblivion,” she said.

Mr. Schwarz gave a full set of his Duchamp ready-mades to the Israel Museum in 1972, and he followed that up in 1998 and 2003 with gifts of hundreds of works by Arshile Gorky, Alexander Calder, Joseph Cornell, Max Ernst and others. The New York Times estimated the 1998 and 2003 gifts to be worth more than $30 million and called Mr. Schwarz’s collection “unparalleled.”

“The level of philanthropy — how many times has it happened that a man or a woman gives 800 works of art to a museum?” Ms. Kamien said. “It transformed the Israel Museum into a center for the study and display of Dada and Surrealism.”

Building the collection took luck, charisma and a devotion that verged on self-sacrifice.

To buy his first Duchamp, in 1950, Mr. Schwarz spent three months having nothing for dinner but a slice of bread with cheese and a tomato. For every exhibition he held, he kept one or two items that his clients had ignored.

It helped that his tastes were ahead of his time. In 1968 he traveled to Bern, Switzerland, for the estate sale of the Surrealist poet and writer Tristan Tzara. He took out a loan from his bank, but when he found few people at the auction, he spent twice as much as he had planned, buying 300 objects.

“Less than a decade later, everybody went mad about Dada and Surrealism and wanted to buy,” Mr. Schwarz was quoted as saying in the catalog for an exhibition at the Israel Museum focusing on his collection. “I started selling single items at prices 10 times higher than the whole amount I had spent on the 300 pieces.”

And his friendships with artists enabled his production of the replicas. As had been the case with Breton, Mr. Schwarz made Duchamp’s acquaintance by writing him a letter without any previous introduction. He went on to visit the artist in New York and at his homes outside Paris and in the Spanish town of Cadaqués.

“He did come just at the right time — he was one of the people who helped to create the Duchamp boom,” said Matthew Affron, a curator of modern art at the Philadelphia Museum of Art. “He succeeded by maintaining very close personal relationships initially with these figures, and I’m sure the building of his career as a gallerist, as an art historian and as a curator derived from those relationships.”

Arturo Umberto Samuele Schwarz was born in Alexandria on Feb. 3, 1924. His father, Richard, was a chemist who invented a method for freeze-drying food, and his mother, Margherita Vitta, was a homemaker.

Arturo earned a bachelor’s degree in philosophy from the Egyptian branch of the Sorbonne and another in natural sciences from the Egyptian branch of Oxford University, both in the 1940s. He went on to the medical school of Farouk University in Alexandria but was expelled for his dissident politics not long before his arrest.

During his imprisonment, the Egyptian authorities tortured Mr. Schwarz by tearing out his toenails. He developed gangrene, and he lost the big toe of his right foot.

In 1951, soon after moving to Italy, he married Vera Zavatarelli. She died in 1984. His second marriage, to Rita Magnanini, ended in divorce. He married Linda Pozzali in 2014. In addition to his wife and his daughter, from his first marriage, Mr. Schwarz is survived by two grandchildren.

He had been hospitalized in Genoa because it was near his summer home in the resort town of Santa Margherita Ligure. He lived in Milan.

Mr. Schwarz, who wrote poetry and essays, curated exhibitions long after his gallery closed in 1975. Until the end of his life, he referred to “we Surrealists” and spoke of himself as having “joined the Surrealist movement.” He frequently sounded like the Surrealists of old, speaking mystically about the human unconscious, deploying concepts taken from Carl Jung like “anima” and “animus.”

Mr. Schwarz cemented his expertise in Duchamp by producing the artist’s catalogue raisonné, and he provoked what he himself called a “scandal” by arguing that Duchamp’s artwork had been influenced by a “love affair” that had occurred “at an unconscious level” between the artist and his sister Suzanne. Those who disagreed with this interpretation, he said, were “conventional” and “hypocritical.”

The immense wealth represented by Mr. Schwarz’s collection seemed not to affect his bohemian sensibility. He gave his art away, he told the Italian newspaper Avvenire in 2014, “for benefit of the eye of the people.”


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Testing Britney Spears: Restoring Rights Can Be Rare and Difficult


Her voice quaking with anger and despair, the pop star Britney Spears has asked repeatedly in court to be freed from the conservatorship that has controlled her money and personal life for 13 years. What’s more, she asked the judge to sever the arrangement without making her undergo a psychological evaluation.

It’s a demand that legal experts say is unlikely to be granted. The mental health assessment is usually the pole star in a constellation of evidence that a judge considers in deciding whether to restore independence.

Its underlying purpose is to determine whether the conditions that led to the imposition of the conservatorship have stabilized or been resolved.

The evaluation process, which uneasily melds mental health criteria with legal standards, illustrates why the exit from strict oversight is difficult and rare. State laws are often ambiguous. And their application can vary from county to county, judge to judge, case to case.

Yes and no. A judge looks for what, in law, is called “capacity.” The term generally refers to benchmarks in a person’s functional and cognitive ability as well as their vulnerability to harm or coercion.

Under California law, which governs Ms. Spears’s case, a person deemed to have capacity can articulate risks and benefits in making decisions about medical care, wills, marriage and contracts (such as hiring a lawyer), and can feed, clothe and shelter themselves.

Annette Swain, a Los Angeles psychologist who does neuropsychological assessments, said that because someone doesn’t always show good judgment, it doesn’t mean they lack capacity. “We all can make bad decisions at many points in our lives,” she said. “But that doesn’t mean that we should have our rights taken away.”

Even so, Ms. Spears’s professional and financial successes do not directly speak to whether she has regained “legal mental capacity,” which she was found to lack in 2008, after a series of public breakdowns, breathlessly captured by the media. At that time, a judge ruled that Ms. Spears, who did not appear in court, was so fragile that a conservatorship was warranted.

Judges authorize conservatorships usually for one of three broad categories: a severe psychiatric breakdown; a chronic, worsening condition like dementia; or an intellectual or physical disability that critically impairs function.

Markers indicating a person has regained capacity appear to set a low bar. But in practice, the bar can be quite high.

“‘Restored to capacity’ before the psychotic break? Or the age the person is now? That expression is fraught with importing value judgment,” said Robert Dinerstein, a disability rights law professor at American University.

Records detailing grounds for the petition from Ms. Spears’s father, Jamie Spears, to become his daughter’s conservator are sealed. A few factors suggest the judge at the outset regarded the situation as serious. She appointed conservators to oversee Ms. Spears’s personal life as well as finances. She also ruled that Ms. Spears could not hire her own lawyer, though a lawyer the singer consulted at the time said he thought she was capable of that.

Earlier this month, Los Angeles Superior Court Judge Brenda Penny said Ms. Spears could retain her own counsel.

Yes. Some states, like California, detail basic functional abilities. Others do not. Colorado acknowledges modern advances like “appropriate and reasonably available technological assistance.” Illinois looks for “mental deterioration, physical incapacity, mental illness, developmental disability, gambling, idleness, debauchery, excessive use of intoxicants or drugs.”

Sally Hurme of the National Guardianship Association noted: “You could be found to be incapacitated in one state but not in another.”

Ideally, a forensic psychiatrist or a psychologist with expertise in neuropsychological assessments. But some states just specify “physician.” Psychiatrists tend to place greater weight on diagnoses; psychologists emphasize tests that measure cognitive abilities. Each reviews medical records and interviews family, friends and others.

Assessments can extend over several days. They range widely in depth and duration.

Eric Freitag, who conducts neuropsychological assessments in the Bay Area, said he prefers interviewing people at home where they are often more at ease, and where he can evaluate the environment. He asks about financial literacy: bill-paying, health insurance, even counting out change.

Assessing safety is key. Dr. Freitag will ask what the person would do if a fire broke out. “I’d call my daughter,” one of his subjects replied.

Ms. Spears has not been able to choose her evaluators in the past because the conservator has the power to make those decisions. However, if she moves to dissolve the conservatorship, she can select the evaluator, to help build her case. If the conservator, her father, opposes her petition and objects to her selection, he could nominate a candidate to perform an additional assessment. Ms. Spears would likely pick up both tabs as costs of the conservatorship.

To avoid a bitter battle of experts and the appearance that an assessor hired by either camp would be inherently biased — plus the strain of two evaluations on Ms. Spears — the judge could try to get both sides to agree to an independent, court-appointed doctor.

Many states explicitly say that a diagnosis of a severe mental health disorder is not, on its own, evidence that a person should remain in conservatorship.

Stuart Zimring, an attorney in Los Angeles County who specializes in elderlaw and special needs trusts, noted that he once represented a physician with schizophrenia and bipolar disorder who was under a conservatorship. The doctor’s rights were eventually restored after he proved he was attending counseling sessions and taking medication.

“It was a joyous day when the conservatorship was terminated,” said Mr. Zimring. “He got to practice medicine again, under supervision.”

The association between the diagnosis of a severe mental disorder and a determination of incapacity troubles Dr. Swain, the Los Angeles psychologist.

“Whatever they ended up diagnosing Britney Spears with, was it of such severity that she did not understand the decisions that she had to make, that she could not provide adequate self-care?” she asked. “Where do you draw that line? It’s a moving target.”

No, but judges usually do.

In most states, when a judge approves a conservatorship, which constrains a person’s autonomy, the evidence has to be “clear and convincing,” a rigorous standard just below the standard of “beyond a reasonable doubt.”

But when a conservatee wants those rights restored, many experts believe the standard should be more lenient.

Some states indeed apply a lower standard to end a conservatorship. In California, a judge can do so by finding it is more likely than not (“preponderance of evidence”) that the conservatee has capacity. But some states say that the evidence to earn a ticket out still has to be “clear and convincing.”

Most states do not even set a standard.

“There’s an underlying assumption that if you can get the process right, everything would be fine and we wouldn’t be depriving people of rights,” said Jennifer Mathis, deputy legal director of the Bazelon Center for Mental Health Law. “Our take is that the process is fundamentally broken and that we shouldn’t be using guardianship in so many cases.”

Yes and no. “Judges are haunted by people they have had in front of them who have been released and disaster happens,” said Victoria Haneman, a trusts and estates law professor at Creighton University. “So they take a conservative approach to freedom.”

Describing the Kafkaesque conundrum of conservatorship, Zoe Brennan-Krohn, a disabilities rights lawyer with the American Civil Liberties Union, said: “If she’s doing great, the system is working and should continue. If she is making choices others disagree with, then she’s unreliable and she needs the system.”

Or, as Kristin Booth Glen, a former New York State judge who oversaw such cases and now works to reform the system, put it, “Conservatorship and guardianship are like roach motels: you can check in but you can’t check out.”

At times. Judge Glen once approved the termination of a guardianship of a young woman originally deemed to have the mental acuity of a 7-year-old. After three years of thoughtful interventions, the woman, since married and raising two children, had become able to participate fully in her life. She relied on a team for “supported decision making,” which Judge Glen called “a less restrictive alternate to the Draconian loss of liberty” of guardianship.

A supported decision-making approach has been hailed by the Uniform Law Commission, which drafts model statutes. It has said judges should seek “the least restrictive alternative” to conservatorship.

To date, only Washington and Maine have fully adopted the commission’s recommended model.


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The Modern Art Movements

Modern Art Movements

” What identifies contemporary art from the art of various other ages is objection.”
– Octavio Paz

Modern Art

Modern Art activities can be claimed to have actually begun in the mid 19th century. Up until this factor, the musicians of the globe concentrated their artwork on practical depictions of the globe around them. They made their living solely on compensation jobs, federal government sponsorship, and exhibitions selected by government officials. It goes without saying, a modification will come. Insisting that there was more to show and also express through art was not only an imaginative activity but a social advancement also.

The initial group dedicated to this adjustment were the Impressionists in Paris, circa 1860. The term was coined by Claude Monet’s painting called Impression, Sunrise. The musicians coming from the motion coincided with musicians who had been turned down by the Academie des Beaux-Arts– the biggest art institute in France. This undoubtedly triggered stress, and upon the event in 1863, it also created the start of the activity. The stylists concentrated on the light of objects in paint and the modification of light with time. They firmly insisted that painters should repaint with all-natural light, concentrating on landscapes as well as scenes of daily life.


Claude Monet, Alfred Sisley as well as Pierre-Auguste Renoir, Camille Pissarro, Frederic Bazille, Edgar Degas, Gustave Caillebotte, Edouard Manet, Elena Filatov, Peter Severen Kroyer and the American Mary Cassatt.

Originates from the French word ‘fauve’ suggesting wild animals. This movement, initially exhibited in 1905 took ideas from Impressionism. At the time, Vincent Van Gogh, Paul Gauguin, and also Paul Cezanne had actually taken Impressionism to its limitations. Stammering at the limit were the Fauvists that utilized remarkable shade in its most strong form. Henri Matisse that looked to produce “art to joy” is thought to be the leader of this activity. Although it wasn’t durable, it was an intriguing activity, based more on visual than philosophy.

Albert Marquet, Andre Derain, Maurice de Vlaminck, Giovanni Giacometti and also Henri Matisse.

Began in Germany around 1905 as well as lasted throughout the thirties. Dark as well as emotional, the goal of Expressionists was to reveal their view of truth via distortion. Not the most gleeful motion of all, yet really emotional. 2 teams of musicians added. One in Dresden called Pass away Bruecke implying the bridge, and one in Munich called Blaue Reiter, meaning Heaven Rider. One of the most popular items of the motion is The Scream by Norweigen Edvard Munch– a superb instance of the internal artist reviving through his job.

Pass Away Bruecke– Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, Max Pechstein, Otto Mueller, Karl Schmidt-Rottluff, American Mark Rothko, Italian painter as well as sculptor Amedeo Modigliani, Franz Marc, August Macke, Gabriele Münter, Wassily Kandinsky, Paul Klee, Alexei Yavlensky, Egon Schiele, Chang Shi-Jun, as well as Heribert Elzer

Art Nouveau
Is a French term indicating New Art? The motion began in 1880 and also lasted via 1910. It was preferred in its time and also ended up being a global phenomenon. The Germans called it Jugendstil, the Italians Freedom, the Austrians Sezessionsstil as well as the Spanish Arte Joven. An extremely ornamental and also complex design of curves as well as organics, it infected design, sculpture, furnishings, and fashion jewelry.

Gustav Klimt, Louis Convenience Tiffany, and Alphonse Mucha

Art Deco
The 1920s, as well as the 1930s, was a reaction to Art Nouveau in that it combated with strong geometrics and proportion. Much less of art and also even more of architecture as well as style, this activity caused high-rises as well as high structures.

Tamara de Lempicka, Georgia O’Keeffe

Was launched by Pablo Picasso from Spain. Its subjects were damaged and also rebuilt in abstract and odd ways. Fragmentation via geometric kinds shared painting in a completely new method. Depth isn’t displayed in this art kind, instead, airplanes of tantamount area. This was the beginning of absolutely avant-garde as well as abstract art.

Pablo Picasso as well as Georges Braques, Robert Delaunay, Marcel Duchamp, Juan Gris and also Lyonel Feininger.

Began in 1924 strangely sufficient by a poet called Andre Breton that focused on the unconscious, the value of desires, and also the subconscious in art type. Surrealism spread as a social, artistic, and intellectual activity. It’s artists consisted of self-announced communists, atheists, feminists, and anarchists. They asserted a sense of transcendentalism, as well as concentrated on an extra true means of life via the unconscious. Their job was very slammed by journalists, however obtained a cult complying with what still sustains today. Among the most appealing as well as still preferred motions in art.

Salvador Dali, the Italian Giorgio de Chirico, Marcel Duchamp, Max Ernst, Joan Miro, Yves Tanguy, Rene Margritte as well as the Russian Marc Chagal

Art, fathered by Wassily Kandinsky is better watched than clarified. Vivid shades, indiscernible forms, and also the representation of anything however all-natural and also life objects are characteristic of this style.
Constructivism (1915), as well as De Stijl (1917), were parallel activities that took abstraction into sculpture as well as design. Abstraction, or non-figurative type, is a favored term as well as still a much-used form of art. In modern layout, abstract art is often picked for wall surface treatments by developers as well as art specialists.

Wassily Kandinsky Beate Emanuel, Emilie Gerard, Spencer Lee, Escha Van den Bogerd, Silverio Dominguez, Milene De Kleijn, Vincent Mond, Ingrid Thaler and Piet Mondrian

Pop Art
Was a reaction to the also elite and also impersonal kind of abstract art. American, as well as British musicians of the mid 20th century, felt it was time to bring art back to the everyday life of ordinary people. Andy Warhol was the woodworker of the Pop Art activity as well as serigraphy or screen printing was his tool of choice. He used daily photos of kitchen area items, or movie stars encounters to bring this activity to life. Comics, ads, and also cd covers flaunted pop art. Although the idea behind the motion was a good one, Pop art or Popular art has been greatly slammed for obscuring the lines in between art as well as mass-produced art.

Andy Warhol, Jaspar Johns, Robert Rauschenberg, David Hockney, Claes Oldenburg, Roy Lichtenstein, Georg Segal, Wayne or James Rosenquis

Every Modern Art activity has something to instruct us. These are such short explanations of topics that could be gone over and also debated continuously. What an intriguing past has lead to our present day. And also what intriguing people have led the way.

Vladimir Menshov, Surprise Russian Oscar Winner, Dies at 81


Vladimir Menshov, the prolific Soviet actor and director whose film “Moscow Does Not Believe in Tears” won the Academy Award in 1980 for best foreign-language film but was panned by many American critics, died on July 5 in a hospital in Moscow. He was 81.

Mosfilm, the Russian film studio and production company, said the cause was complications of Covid-19.

“Moscow Does Not Believe in Tears,” a soapy, melodramatic crowd-pleaser, attracted some 90 million moviegoers in the Soviet Union even after it had been broadcast on television, not long after it was released theatrically in 1980. Its theme song, “Alexandra,” written by Sergey Nikitin and Tatyana Nikitina, became one of the country’s most beloved pieces of movie music.

Even so, when “Moscow,” only the second film Mr. Menshov had directed, won the Oscar, it was a surprise, given the competition that year. It edged out François Truffaut’s “The Last Metro” and Akira Kurosawa’s “The Shadow Warrior,” as well as the Spanish director Jaime de Armiñán’s “The Nest” and the Hungarian director Istvan Szabo’s “Confidence.”

“There was more condescending good will than aesthetic discrimination behind the Oscar voted to ‘Moscow,’” Gary Arnold of The Washington Post wrote when he reviewed the film, which was released in the United States after its Oscar victory.

The film follows three girls quartered at a Moscow hotel for young women in the late 1950s as they hunt for male companionship, and then revisits them 20 years later. It starred Vera Alentova, the director’s wife and the mother of their daughter, Yuliya Menshova. They both survive him.


Mr. Arnold noted that Mr. Menshov’s movie “revives a genre Hollywood has failed to sustain, reliable as it would seem: the chronicle of provincial girls, usually a trio, in pursuit of careers and/or mates in the big city” — a genre that ranged chronologically, at the time, from “Stage Door” (1938) to “Valley of the Dolls” (1967).

Vincent Canby of The New York Times conceded that the film was “decently acted” but said that at two and a half hours, it “seems endless.”

There are suggestions of social satire from time to time,” Mr. Canby wrote, “but they are so mild they could surprise and interest only an extremely prudish, unreconstructed Stalinist.”

While he considered it understandable that “Moscow” was one of the Soviet Union’s most successful films, Mr. Canby concluded, “One can also believe that portion of Mr. Menshov’s biography (contained in the program) that reports he failed his first three years at the Cinema Institute in Moscow and wasn’t much more successful as an acting student with the Moscow Art Theater.

“I assume we are told these things,” he added tartly, “to underscore the lack of meaning in these early failures, which, however, appear to be summed up in his Oscar winner.”

Vladimir Valentinovich Menshov was born on Sept. 17, 1939, to a Russian family in Baku (now in Azerbaijan). His father, Valentin, was an officer with the secret police. His mother, Antonina Aleksandrovna (Dubovskaya) Menshov, was a homemaker.

As a teenager, Vladimir held blue-collar jobs as a machinist, a miner and a sailor before being admitted to the Moscow Art Theater School. After graduating from the school in 1965 and from the Gerasimov Institute of Cinematography in 1970, he worked for the Mosfilm, Lenfilm and Odessa Film studios.

He had more than 100 credits as an actor and was also a screenwriter. He made his debut as a director in 1976 with the film “Practical Joke.”


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What to Do This Summer: Lower Manhattan


The big toe of Lower Manhattan dips into the water where the East River meets the Hudson, outlining a harbor rich with attractions. Three inviting neighborhoods in the area — Battery Park City, TriBeCa and the South Street Seaport — are easily reached by public transportation and offer breezy marinas, ample green space, destination restaurants and a multitude of art galleries. These days, out-of-towners are in scant evidence along the waterfront and Wall Streeters just a mere trickle, apparently in no rush to return to office buildings.

This is not the first time Lower Manhattan has been down. The 20th anniversary of the events of Sept. 11 is looming, but budget cuts mean the 9/11 Memorial & Museum can’t mount a commemorative exhibit. Hurricane Sandy further ravaged streets and businesses in 2012. Damage to lives and livelihoods from the coronavirus will take a while to heal. Yet a visit to any one of these neighborhoods — with time allotted for their riverfront promenades and piers — is bound to be restorative.

Battery Park City, a planned community built on landfill along the Hudson River, looks like a sterile canyon of mostly residential buildings. But nearer to the water’s edge, winding pathways lined with lush greenery give way to the full spectrum of New York Harbor — and it’s breathtaking.

The sweeping panorama frames the Statue of Liberty, Ellis Island, passing sailboats and the Staten Island Ferry. The air is briny and feels a few degrees cooler than uptown. Picnic tables and benches are freely provided throughout the neighborhood. Green space — Robert F. Wagner, Jr. Park, Nelson A. Rockefeller Park, Teardrop Park — is abundant.

The Battery Park City Authority runs and maintains the area, which includes an outdoor public art collection and Poetry Path, an installation featuring fragments from more than 40 poets reproduced on bench slats, pavers and signs.

Wagner Park is the setting for a series of free outdoor concerts, River & Blues, on Thursdays through July. The last, July 29, features Rev. Sekou & The Freedom Fighters at 6 p.m. Bring your own blankets and snacks. From Aug. 15 to 20, 7 p.m. to 9 p.m., the park will host the 40th annual Battery Dance Festival, with free performances by dancers from around the globe. The festival will also be livestreamed.

The talents of PUBLIQuartet’s contemporary interpretation of chamber music will be on display at Belvedere Plaza, just north of the North Cove Marina, on Aug. 5 at 6:30 p.m. (free). This pretty marina is often bejeweled with yachts, and flanks Brookfield Place, an upscale shopping mall. Le District, a French-themed marketplace on its ground floor, and Hudson Eats, a food court up an escalator, were shadows of their former selves on a recent visit, feeling listless without the normal work force.

Business was overflowing, however, at Merchants River House (375 South End Avenue), nestled on Battery Park City Esplanade. The casual American bistro has two outdoor terraces and spectacular views. Spinach-artichoke dip with pita chips is fun to share ($17 at lunch and dinner; $12 during happy hour, Monday to Friday from 4 p.m. to 6 p.m.). Linger, if you can, until sunset.

This former manufacturing district is supposedly New York City’s richest ZIP code (10007), but dropping a fortune here isn’t necessary.

Pier 25 at Hudson River Park has an 18-hole miniature golf course ($10 for adults; $5 for children) and sandy volleyball courts. If you’re feeling flush, a seafood-focused menu at Grand Banks is served aboard a docked wooden schooner, the Sherman Zwicker, with expertly shucked oysters ($19.50 to $25 for a half-dozen).

Parallel to it is Pier 26, which opened last year and is more meditative, a habitat of local plants and wooden walkways. Lounge chairs, swings big enough to accommodate adults, and river-facing counters for setting down your coffee are designed to promote relaxation.

Several art galleries with free admission are along Walker Street (Bortolami, at No. 39; James Cohan, at No. 48; Lomex, at No. 86; and WINDOW by Anton Kern Gallery, at No. 91). Cortlandt Alley is worth a foray for Andrew Kreps Gallery, at No. 22. On Lispenard Street look for Denny Dimin Gallery, at No. 39; and Canada, at No. 60. Nicelle Beauchene, at 7 Franklin Place, and Postmasters, at 54 Franklin Street, whose current group show features mind-bending digital works, are other well-respected gallerists.

While a number of the galleries are newcomers, TriBeCa lost more than 60 storefronts because of the pandemic, according to Pam Frederick, the publisher of the local news website Tribeca Citizen. The shutdowns of longtime favorite restaurants like Sole di Capri, Tokyo Bay and Mariachi’s, plus the beloved Reade Street Pub, which had been home to a series of saloons since the 1800s, hit hard, she said.

“Tribeca is a low-rise village within a city,” Ms. Frederick said, “with a lot of good eating and drinking options that are owner-operated, making it very community-oriented.”

For instance, Lynn Wagenknecht and her son Harry McNally are usually on the premises at The Odeon (145 West Broadway), a legendary canteen since 1980. It’s hard to go wrong with a crock of creamy, tangy, breadcrumb-blanketed macaroni and cheese ($18) or the soothing three-egg omelet ($21).

Mudville 9 has been around for even longer, a classic watering hole since 1977 (126 Chambers Street). Rotating craft beers flow from taps, sold two-for-one during happy hour, Tuesday to Friday from 3 p.m. to 6 p.m. Beef burgers and plant-based Impossible Burgers ($19 to $20) provide good ballast.

Since 2018, Frenchette (241 West Broadway) has been a talk-of-the-town bistro. It’s not hard to get a table these days and the sidewalk seating is lovely; to eat inside, proof of vaccination is required. The menu from co-chefs Riad Nasr and Lee Hanson frequently changes but golden, crunchy fries are a constant, arguably the best in the city. On a recent visit they were piled next to a tender bavette steak bathed in shallot bone-marrow sauce ($45). It is worth paying for the bread ($8), a dense half-baguette served with radishes and a slab of custard-like Ploughgate Creamery butter.

That baguette is also sold at Frenchette Bakery, tucked away in an office lobby nearby (220 Church Street). If the buttery, salty, cheesy gougères (three for $5) are in stock, don’t hesitate. And, oh, the savory egg pastries! A recent one starred a jammy egg plugged into a round, multilayered croissant embellished with Comté cheese and pistachio-studded slices of mortadella fanning out like petals ($8).

Even if you’re not an overnight guest at TriBeCa’s Roxy Hotel (2 Sixth Avenue), step inside for live jazz performances in the bar or at The Django, a subterranean club. A sweet, red-hued cinema is also on the premises.

The paving stones in the South Street Seaport Historic District can be treacherous for heels and bicycles, but add character to this transporting maritime idyll on the East River. Fulton Street is lined with restaurants and shops, including a branch of the independent bookseller McNally Jackson, in small-scale brick buildings dwarfed by surrounding skyscrapers.

Head east on Fulton Street, crossing South Street, toward vintage vessels moored next to Pier 17. The redeveloped pier looks soulless and corporate, yet it has interior and exterior pizzazz. Roam to the far end where sturdy chairs and benches look out on the water, then to the north side, offering a fisheye lens perspective of the Brooklyn Bridge. There are long picnic tables for the public’s enjoyment.

The Greens, on Pier 17’s rooftop, hosts outdoor movie nights every Monday through August. Check the calendar for D.J. sets and upcoming live music shows.

A fleet of restaurants spans Pier 17, including the new Carne Mare, a bi-level Italian chophouse spearheaded by the chef Andrew Carmellini (The Dutch, Locanda Verde). David Chang’s resurrected Ssäm Bar and Jean-Georges Vongerichten’s The Fulton, a seafood venue, are other headliners. The Fulton’s outdoor tables at the end of the pier are the most appealing, but the location comes with a price, like a margarita that unexpectedly cost $26.

Fresh-baked, pull-apart rolls sweetened with milk and crusted with cheese come gratis at Carne Mare. The menu is pricey, but snacks like king crab lettuce cups spiked with Italian chili crisp ($22) and mozzarella sticks gilded with caviar ($24) were deliciously worth every dollar. A sidecar made with Dudognon Reserve Cognac was $16, more in line with bar prices elsewhere in the city. Go now — advice in general for Lower Manhattan — before post-Labor Day crowds descend.

Follow New York Times Travel on Instagram, Twitter and Facebook. And sign up for our weekly Travel Dispatch newsletter to receive expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places list for 2021.


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The Music Scene in This Brooklyn Neighborhood Is Here to Stay


One July Sunday, just off Newkirk Plaza in Brooklyn — between the yellow facade of a laundromat and the red awning of a bodega — the mellow strains of a saxophone floated over a crowd of about 150. The Haitian jazz guitarist Eddy Bourjolly introduced the song “Complainte Paysanne,” and the band serenaded the street.

This was a kickoff event for Open Streets, a series of Sunday concerts that will run through the end of August in the Flatbush area of Brooklyn. It is hosted by 5 p.m. Porch Concerts, one of a handful of groups that have taken root around the Ditmas Park neighborhood since the pandemic began. Operation Gig, which connects local musicians to paying gigs, began last July. Artmageddon, an art and music festival on the porches and in the gardens there, saw its first installment this June.

As to-go cocktails — and (hopefully) outdoor birthday parties in frigid January — become a thing of the past, some rituals that have developed during the pandemic are here to stay in the city. The nascent arts and music scene around Ditmas Park — a neighborhood nestled in Flatbush, below Prospect Park — appears to be one of them.

Robert Elstein, an artist and public-school teacher who organized Artmageddon, plans to hold its next installment in October. Last time, paintings and sculptures from groups like Flatbush Artists and Oye Studios were on display in yards and in the Newkirk Community Garden. The neighborhood has always counted artists and musicians among its residents, but because of the pandemic they were suddenly staying put, Elstein said.

“Our world went from being the entire world to just our local community, no matter where we were,” he said. “And because of the neighborly spirit and creativity of the residents of Ditmas Park, we saw what we saw.”

The quiet, leafy area of Ditmas Park is known better for its Victorian houses than concert venues (in fact, there’s a dearth of them), but it became a musical destination in the city in 2020 thanks in part to the wiry 70-year-old saxophonist Roy Nathanson.

Beginning in April of last year, he played “Amazing Grace” from his second-floor balcony in Ditmas Park every evening at 5 sharp — a soothing change from the constant wail of sirens then. Soon a motley crew of local musicians — including the pianist and composer Albert Marquès — took shape, and they joined him in playing that hopeful hymn for 82 days straight.

Last May, when George Floyd was killed in Minneapolis, and New Yorkers took to the streets to protest police brutality, Marquès did too.

“I was playing for the community, we were doing all those things,” he said in a video interview from Spain this month. “And I was going to the protests. So in my mind, both things had to connect somehow.” That connection took shape as Freedom First, a series of jazz concerts around New York he organized around a cause, raising funds to support Keith LaMar, a death-row inmate in Ohio who is fighting to be exonerated for a crime he says he did not commit.

Last summer, 5 p.m. Porch Concerts pivoted to hosting mostly jazz performances, and began offering outdoor lessons to young musicians in middle and high school in June of 2020. After going mostly dormant over the winter, they started “porch jams” in April; this series, held on Sundays at 5 p.m. on East 17th Street, will resume in mid-August.

Another group, Operation Gig, founded by Aaron Lisman in July 2020, has been bringing live music to Ditmas Park, and paying local professional musicians for their work, for a full year now. Especially during a pandemic, he said, musicians should not be expected to play for free.

There’s no overhead for shows like these, and no booking agent or venue. Each concert averages between $300 and $500 in crowd funding (think Venmo), by Lisman’s estimate. The record collected for a performance was around $1,000 — more than some music clubs in the city pay. At a recent event, they announced a suggested donation of $10 per person, $20 per family. Many young families attend, as do older people.

“They’re not going to be going to Manhattan, period, let alone to clubs,” Lisman said. “So they are sort of an untapped market, and it turns out that doing music on porches — which turns out to be really beautiful and special — is a perfect way to tap that market.”

On the same Sunday in July, music, folksy and bright, could be heard down Buckingham Road, an area lined with beautiful old Victorians. A stroller brigade was parked on the grass. Through the trees emerged a Japanese-style, bright red stucco-covered box of a house, trimmed in forest green and built at the beginning of the 20th century. Below the porch, a white-haired couple held hands. Toward the fence, Amy Bramhall of Copper Spoon Bakery presided over a table of free cupcakes, macarons and cookies.

Gloria Fischer, the homeowner for 40 years, listened to the four songwriters in-the-round at the Operation Gig event — Scott Stein, Andi Rae Healy, Jeff Litman and Bryan Dunn — from her porch. Sporting teashade sunglasses with purple-swirled frames, Fischer said that over the past year alone, she estimates she has hosted around 50 Operation Gig shows.

“I think that it actually gave me an emotional lift,” she said. “Because it was obviously such a dent” during the pandemic.

“When you’re a hustling creative type in New York, you just get used to having to adapt and having many things going on at once,” she said. “So it was like, ‘Oh, well that whole revenue stream is gone.’ And we made this happen instead.”

Last summer, 5 p.m. Porch Concerts started a program of outdoor lessons, pairing professional musicians from the neighborhood with kids aged 10 to 18. At the Open Streets event, which will make Newkirk Avenue a car-free zone on Sundays through the end of the summer, the Multigenerational Playing for the Light Big Band performed, featuring teachers alongside their students.

Aidan Scrimgeour, a melodica player, said that inspiration for the lessons came from “knowing the amount of musicians doing different and interesting things that live in the neighborhood, and the amount of kids who could have access to what I think is really a cool opportunity.”

Among Scrimgeour’s students is the pianist Rhonasha George, 15. At the Open Streets event, she sang a song she had written, “Outside My Window,” her fire engine red braids matching her dress. The song comes from a poem George wrote with the informal music school last summer. Over Zoom, teachers asked students to visualize what happened in the neighborhood around them during the pandemic.

For George, that meant writing about an old man outside of her window caught in a summer storm, with no coat and no umbrella. But like the city itself, “he was OK. And he was actually stronger and healthier than anything,” George said. And like the city, she added, “He knows how to come back.”


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How Much Watching Time Do You Have This Weekend?


Every Monday and Friday, Margaret offers hyper-specific viewing recommendations in our Watching newsletter. Read her latest picks below, and sign up for the Watching newsletter here.

‘Ted Lasso’When to watch: Season 2 begins Friday, on Apple TV+.

Oh thank God, Season 2 of “Ted Lasso” is finally here. Jason Sudeikis stars as a good-natured American football coach who becomes a soccer coach in England, and while his folksiness and optimism initially make him an object of ridicule, gosh dangit if he doesn’t win everyone over. Some of the subplots this season drag out the inevitable, and the show’s attempts at political stories feel naïve at best. But “Ted Lasso” remains one of the easiest shows to love, a happy, dynamic pleasure. It’s warm and silly but not stupid, and most episodes clock in over 30 minutes, adding to the show’s vibe of abundance. New episodes come out Fridays.

‘Icon: Music Through the Lens’
When to watch: Friday at 9 p.m., on PBS. (Check local listings.)

This intriguing six-part documentary about music photography kicked off last week (Episode 1 is available on PBS’s app and website) and combines the thrill of a behind-the-scenes story, the juiciness of a behind-the-music story and the inherent appeal of expertise. This week’s installment, “On the Road,” focuses on touring, and the participating photographers explain the technical and emotional sides of their work. Pop has changed, rock has changed, the live music industry has changed, cameras have changed, society’s relationship to photography has changed, media has changed, stardom has changed, but passion is passion.

‘Tig Notaro: Drawn’
When to watch: Saturday at 10 p.m., on HBO.

This new stand-up special from the comedian Tig Notaro has her signature low-key delivery and casual candor. But rather than being a traditional filmed theater performance, “Drawn” is fully animated. Each section of Notaro’s act gets a different visual treatment, so some segments look like a bouncy children’s show while others have a more grounded style. Good stand-up creates its own tiny, temporary reality, and the more faithfully the animation follows Notaro’s material, the more effective and alive the moment feels.


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Best International Art Fairs & Events

Best International Art Fairs & Events

An ARTS FESTIVAL is a celebration that includes the arts in a wide feeling of the word not simply aesthetic arts.

International Art Fair

Celebrations of visual arts are not to be confused with the commercial art fair. Artists take part in the most vital of such event exhibits by invitation, and also these events (e.g. the Venice Biennale) are organised by worldwide identified managers picked by a committee of peers.

International Art Fairs & Events

These global exhibits should additionally be identified from art fairs, market-oriented celebrations of art dealers and their wares, which have actually just recently emerged as amongst one of the most crucial art-world venues for advertising artists and also sales of contemporary art in the contemporary super-heated art market.

An ART EVENT is typically the space in which art objects (in the most general feeling) satisfy a target market. The exhibition is universally recognized to be for some short-lived period unless, as is hardly ever true, it is stated to be a “irreversible event”.

In American English, they may be called “display”, “exposition” (the French word) or “show”. In UK English, they are always called “exhibitions” or “shows”, and also an individual item in the show is an “exhibit”.

Such presentations might offer images, drawings, video, noise, installment, efficiency, interactive art, new media art or sculptures by private artists, groups of musicians or collections of a particular kind of art.

The artwork might be presented in museums, art halls, art clubs or private art galleries, or at some location the primary company of which is not the display or sale of art, such as a coffee shop.

An important distinction is kept in mind in between those displays where some or every one of the works are available for sale, generally secretive art galleries, as well as those where they are not. Often the occasion is organized on a specific event, like a birthday celebration, celebration or anniversary.

BIENNALE is Italian for “biennial” or “every other year” as well as can be utilized to explain any kind of event that takes place every 2 years. It is most frequently used within the art globe to describe massive international modern art exhibits, stemming from using the phrase for the Venice Biennale, which was first kept in 1895.

The phrase has because been used for various other artistic occasions, such as the “Biennale de Paris”, or even as a portmanteau similar to Berlinale (for the Berlin International Movie Festival) and Viennale (for Vienna’s global film celebration). “Biennale” is as a result used as a general term for other reoccurring worldwide events (such as triennials, Documenta, Skulptur Projekte Münster).