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The Merchant Of Venice - Frank Burbeck (1912)
⏲ 3:13 👁 10K
The Dukes The Dukes E003 – The Dukes Of Venice
⏲ 20:8 👁 10K
'A wonderful emotion' as Pope Francis holds mass in Venice
⏲ 1:28 👁 5K
Residents protest as Venice launches five-euro entry fee
⏲ 2:5 👁 5K
Julien Creuzet \French Pavilion at Venice Art Biennale 2024
⏲ 10:1 ✓ 25-Apr-2024
Channatip Chanvipava: The Sound of Many Waters
⏲ 8:56 ✓ 25-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.")
_the-dukes-the-dukes-e003-the-dukes-of-venice.jpg "The Dukes The Dukes E003 – The Dukes Of Venice from soprintendenza venice")
_39a-wonderful-emotion39-as-pope-francis-holds-mass-in-venice.jpg "People welcome Pope Francis's visit to Venice on Sunday, the ageing pontiff's first outside Rome since last year. The Pope addressed more than 10,000 faithful seated in the vast St Mark's Square, following an earlier visit to a women's prison and an address to young Venetians.")
_residents-protest-as-venice-launches-five-euro-entry-fee.jpg "Venice begins charging day-trippers for entry, a world first aimed at tackling mass tourism but opposed by protesters objecting to treating the historic Italian city as a museum. Around 10,000 tickets had been sold by the time the scheme began at 8:30 am (0630 GMT) on Thursday, according to local authrorities. \")
_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.")
_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-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.")
_the-dukes-the-dukes-e003-the-dukes-of-venice.webp "The Dukes The Dukes E003 – The Dukes Of Venice from soprintendenza venice")
_39a-wonderful-emotion39-as-pope-francis-holds-mass-in-venice.webp "People welcome Pope Francis's visit to Venice on Sunday, the ageing pontiff's first outside Rome since last year. The Pope addressed more than 10,000 faithful seated in the vast St Mark's Square, following an earlier visit to a women's prison and an address to young Venetians.")
_residents-protest-as-venice-launches-five-euro-entry-fee.webp "Venice begins charging day-trippers for entry, a world first aimed at tackling mass tourism but opposed by protesters objecting to treating the historic Italian city as a museum. Around 10,000 tickets had been sold by the time the scheme began at 8:30 am (0630 GMT) on Thursday, according to local authrorities. \")
_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.")
_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.")
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