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The Merchant Of Venice - Frank Burbeck (1912)
⏲ 3:13 👁 5K
Julien Creuzet \French Pavilion at Venice Art Biennale 2024
⏲ 10:1 ✓ 25-Apr-2024
Kapwani Kiwanga: Trinket \Canadian Pavilion at Venice Art Biennale 2024
⏲ 8:8 ✓ 25-Apr-2024
Channatip Chanvipava: The Sound of Many Waters
⏲ 8:56 ✓ 25-Apr-2024
“The Cursed Doll - The Tale of the Murderous Spirit”
⏲ 1:41 ✓ 24-Apr-2024
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_the-merchant-of-venice-frank-burbeck-1912.jpg "Shylock's rebuke from The Merchant Of Venice by Shakespeare<br/><br/>Recited by Frank Burbeck <br/><br/>Victor 17163<br/><br/>1912<br/><br/>Spoken by Shylock<br/><br/>Act 1, Scene 3<br/><br/>Signior Antonio, many a time and oft<br/>In the Rialto you have rated me<br/>About my moneys and my usances:<br/>Still have I borne it with a patient shrug,<br/>For sufferance is the badge of all our tribe.<br/>You call me misbeliever, cut-throat dog,<br/>And spit upon my Jewish gaberdine,<br/>And all for use of that which is mine own.<br/>Well then, it now appears you need my help:<br/>Go to, then; you come to me, and you say<br/>‘Shylock, we would have moneys:’ you say so;<br/>You, that did void your rheum upon my beard<br/>And foot me as you spurn a stranger cur<br/>Over your threshold: moneys is your suit<br/>What should I say to you? Should I not say<br/>‘Hath a dog money? is it possible<br/>A cur can lend three thousand ducats?’ Or<br/>Shall I bend low and in a bondman’s key,<br/>With bated breath and whispering humbleness, Say this;<br/>‘Fair sir, you spit on me on Wednesday last;<br/>You spurn’d me such a day; another time<br/>You call’d me dog; and for these courtesies<br/>I’ll lend you thus much moneys’?<br/><br/>Bassanio has no money but he needs money so he can woo Portia, so Bassanio turns to his friend Antonio for a loan.<br/><br/>Antonio has invested his own money in ships and cannot furnish his friend with money, so he hopes to help Bassanio by going to Shylock for a loan.<br/><br/>Shylock is Jewish. The others are Christian.<br/><br/>Shylock is bitter that he is asked for money after being badly treated by Antonio in the past.<br/><br/>That bitter feeling is the basis for this famous monologue.")
_julien-creuzet-92-french-pavilion-at-venice-art-biennale-2024.jpg "Julien Creuzet / French Pavilion at Venice Art Biennale 2024. <br/>Official description: The sight of the matoutou falaise is a gift when it appears in dense forests, on the bark of the Zamana trees or the rocks of the Martinique shores. It requires a deep connection to the environment; an eye that sweeps the contours and glides over the textures. It is about appearances and disappearances, what is given, protected, and also unseen... This way of seeing is undoubtedly what Julien Creuzet strives to offer through the experience of his work. It describes an immersion in a poetry of forms and sounds, volumes and lines in movement, colourful encounters forming new languages: an experience to be lived deeply. This tarantula, endemic to Martinique, could well be the symbol of a way of being with art that history has yet to write. It nourishes, and protects, in the teaching of a sensible and poetic understanding of the world it offers a softer gaze to approach the many ecologies of life. Creuzet’s forms stem from a locus of emancipation, which must be felt to truly see. It is a moment of learning and unlearning as a reconciliation with our senses, as well as a space to be untranslated and liberated.<br/><br/>Julien Creuzet: Attila cataracte ta source aux pieds des pitons verts finira dans la grande mer gouffre bleu nous nous noyâmes dans les larmes marées de la lune. French Pavilion at Venice Art Biennale 2024. Venice (Italy), April 19, 2024.")
_kapwani-kiwanga-trinket-92-canadian-pavilion-at-venice-art-biennale-2024.jpg "Kapwani Kiwanga: Trinket / Canadian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Venice (Italy), April 19, 2024.<br/><br/>Official description: Kapwani Kiwanga is a multi-disciplinary artist concerned with forms of power: their suppressed histories and quotidian effects. The artist transforms the Canada Pavilion by way of a site- specific sculptural installation on the building’s interior and exterior, turning it into a large-scale tableau. Shapes shift, dissolving distinctions between inside and outside. As one moves through the coil-like architecture, it unfolds, multiplying perspectives. The installation principally consists of conterie (seed beads), historically employed as both currency and items of exchange. Conterie were dispersed globally from the Venetian island of Murano and incorporated into various material cultures. Kiwanga uses these tiny glass units to construct the monumental out of the minute, each bead acting as a witness to past transactions that changed the socioeconomic landscape of the sixteenth century and beyond. The work addresses the often-destructive history of commerce and how the trade of these beads shaped the world. Other materials related to the trade of conterie are also included. They rise from the pavilion’s floor onto the walls and spill out into the courtyard. As they meet the beads, they formalise a place of exchange, prompting reflection on issues of value, aesthetics, and global economic relations.")
_channatip-chanvipava-the-sound-of-many-waters.jpg "Coinciding with the Venice Art Biennale 2024, Roman Road presents a solo exhibition curated by Marisa Bellani dedicated to the artist Channatip Chanvipava. Titled “The Sound of Many Waters”, the show features eight new works that explore the notions of fixed identities, belonging and subjective memory. The exhibition is on view at Dimora ai Santi, Calle Larga Giacinto Gallina, Canneregio 6381, 30121, Venezia, and runs until May 27, 2024.<br/><br/>Channatip Chanvipava: The Sound of Many Waters. Venice (Italy), April 16, 2024.<br/><br/>Press text (excerpt):<br/><br/>Aligning with this year's Biennale theme 'Foreigners Everywhere’, Bellani turns to water as a powerful reference to address the concepts of queer identity and connection in a divided world. These are vibrantly expressed in Chanvipava’s work which navigates queer sensibilities with immense power and emotion. Water, in this instance, becomes a symbol of both connection and division, resonating with the complexities of queer identity.<br/><br/>Based in London, Channatip Chanvipava is a self-taught painter who embarked on his artistic journey after a degree in Economics, driven by an enduring passion for art cultivated since a young age. His unique style, marked by distinctive and bold brushstrokes inspired by the impressionists, seamlessly oscillates between abstraction and figuration. Notably, Chanvipava's compositions are characterized by layered, thick, and vibrant paint textures distinguished by vertical lines outlining forms. His organic and meditative artistic process relies on intuition and fragments of memory, pieced together to create a ‘tapestry’ of recollections. He navigates through colour as a vehicle to express form, bringing to light moments of reflection, contemplation and liberation. Without employing preliminary sketches or physical references, he paints directly on canvas and relies solely on memory and his acute understanding of space and depth.")
_the-cursed-doll-the-tale-of-the-murderous-spirit.jpg "In this horror video, we narrate the story of a child who receives a new doll as a gift from his grandmother. Unbeknownst to him, this doll harbors a dark secret. Discover the murderous spirit haunting the doll, and witness a series of terrifying events unfold. Will the child escape this malevolent spirit, or will his fate mirror that of the girl who was killed before him? Watch this thrilling video to find out more!<br/><br/><br/>")
_the-merchant-of-venice-frank-burbeck-1912.webp "Shylock's rebuke from The Merchant Of Venice by Shakespeare<br/><br/>Recited by Frank Burbeck <br/><br/>Victor 17163<br/><br/>1912<br/><br/>Spoken by Shylock<br/><br/>Act 1, Scene 3<br/><br/>Signior Antonio, many a time and oft<br/>In the Rialto you have rated me<br/>About my moneys and my usances:<br/>Still have I borne it with a patient shrug,<br/>For sufferance is the badge of all our tribe.<br/>You call me misbeliever, cut-throat dog,<br/>And spit upon my Jewish gaberdine,<br/>And all for use of that which is mine own.<br/>Well then, it now appears you need my help:<br/>Go to, then; you come to me, and you say<br/>‘Shylock, we would have moneys:’ you say so;<br/>You, that did void your rheum upon my beard<br/>And foot me as you spurn a stranger cur<br/>Over your threshold: moneys is your suit<br/>What should I say to you? Should I not say<br/>‘Hath a dog money? is it possible<br/>A cur can lend three thousand ducats?’ Or<br/>Shall I bend low and in a bondman’s key,<br/>With bated breath and whispering humbleness, Say this;<br/>‘Fair sir, you spit on me on Wednesday last;<br/>You spurn’d me such a day; another time<br/>You call’d me dog; and for these courtesies<br/>I’ll lend you thus much moneys’?<br/><br/>Bassanio has no money but he needs money so he can woo Portia, so Bassanio turns to his friend Antonio for a loan.<br/><br/>Antonio has invested his own money in ships and cannot furnish his friend with money, so he hopes to help Bassanio by going to Shylock for a loan.<br/><br/>Shylock is Jewish. The others are Christian.<br/><br/>Shylock is bitter that he is asked for money after being badly treated by Antonio in the past.<br/><br/>That bitter feeling is the basis for this famous monologue.")
_julien-creuzet-92-french-pavilion-at-venice-art-biennale-2024.webp "Julien Creuzet / French Pavilion at Venice Art Biennale 2024. <br/>Official description: The sight of the matoutou falaise is a gift when it appears in dense forests, on the bark of the Zamana trees or the rocks of the Martinique shores. It requires a deep connection to the environment; an eye that sweeps the contours and glides over the textures. It is about appearances and disappearances, what is given, protected, and also unseen... This way of seeing is undoubtedly what Julien Creuzet strives to offer through the experience of his work. It describes an immersion in a poetry of forms and sounds, volumes and lines in movement, colourful encounters forming new languages: an experience to be lived deeply. This tarantula, endemic to Martinique, could well be the symbol of a way of being with art that history has yet to write. It nourishes, and protects, in the teaching of a sensible and poetic understanding of the world it offers a softer gaze to approach the many ecologies of life. Creuzet’s forms stem from a locus of emancipation, which must be felt to truly see. It is a moment of learning and unlearning as a reconciliation with our senses, as well as a space to be untranslated and liberated.<br/><br/>Julien Creuzet: Attila cataracte ta source aux pieds des pitons verts finira dans la grande mer gouffre bleu nous nous noyâmes dans les larmes marées de la lune. French Pavilion at Venice Art Biennale 2024. Venice (Italy), April 19, 2024.")
_kapwani-kiwanga-trinket-92-canadian-pavilion-at-venice-art-biennale-2024.webp "Kapwani Kiwanga: Trinket / Canadian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Venice (Italy), April 19, 2024.<br/><br/>Official description: Kapwani Kiwanga is a multi-disciplinary artist concerned with forms of power: their suppressed histories and quotidian effects. The artist transforms the Canada Pavilion by way of a site- specific sculptural installation on the building’s interior and exterior, turning it into a large-scale tableau. Shapes shift, dissolving distinctions between inside and outside. As one moves through the coil-like architecture, it unfolds, multiplying perspectives. The installation principally consists of conterie (seed beads), historically employed as both currency and items of exchange. Conterie were dispersed globally from the Venetian island of Murano and incorporated into various material cultures. Kiwanga uses these tiny glass units to construct the monumental out of the minute, each bead acting as a witness to past transactions that changed the socioeconomic landscape of the sixteenth century and beyond. The work addresses the often-destructive history of commerce and how the trade of these beads shaped the world. Other materials related to the trade of conterie are also included. They rise from the pavilion’s floor onto the walls and spill out into the courtyard. As they meet the beads, they formalise a place of exchange, prompting reflection on issues of value, aesthetics, and global economic relations.")
_channatip-chanvipava-the-sound-of-many-waters.webp "Coinciding with the Venice Art Biennale 2024, Roman Road presents a solo exhibition curated by Marisa Bellani dedicated to the artist Channatip Chanvipava. Titled “The Sound of Many Waters”, the show features eight new works that explore the notions of fixed identities, belonging and subjective memory. The exhibition is on view at Dimora ai Santi, Calle Larga Giacinto Gallina, Canneregio 6381, 30121, Venezia, and runs until May 27, 2024.<br/><br/>Channatip Chanvipava: The Sound of Many Waters. Venice (Italy), April 16, 2024.<br/><br/>Press text (excerpt):<br/><br/>Aligning with this year's Biennale theme 'Foreigners Everywhere’, Bellani turns to water as a powerful reference to address the concepts of queer identity and connection in a divided world. These are vibrantly expressed in Chanvipava’s work which navigates queer sensibilities with immense power and emotion. Water, in this instance, becomes a symbol of both connection and division, resonating with the complexities of queer identity.<br/><br/>Based in London, Channatip Chanvipava is a self-taught painter who embarked on his artistic journey after a degree in Economics, driven by an enduring passion for art cultivated since a young age. His unique style, marked by distinctive and bold brushstrokes inspired by the impressionists, seamlessly oscillates between abstraction and figuration. Notably, Chanvipava's compositions are characterized by layered, thick, and vibrant paint textures distinguished by vertical lines outlining forms. His organic and meditative artistic process relies on intuition and fragments of memory, pieced together to create a ‘tapestry’ of recollections. He navigates through colour as a vehicle to express form, bringing to light moments of reflection, contemplation and liberation. Without employing preliminary sketches or physical references, he paints directly on canvas and relies solely on memory and his acute understanding of space and depth.")
_the-cursed-doll-the-tale-of-the-murderous-spirit.webp "In this horror video, we narrate the story of a child who receives a new doll as a gift from his grandmother. Unbeknownst to him, this doll harbors a dark secret. Discover the murderous spirit haunting the doll, and witness a series of terrifying events unfold. Will the child escape this malevolent spirit, or will his fate mirror that of the girl who was killed before him? Watch this thrilling video to find out more!<br/><br/><br/>")
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