texts:
<mask> (born 1945 in Havana, Cuba) is a freelance curator, critic, art historian, and writer based in Havana, Cuba. He was one of the organizers of the first Havana Biennial in 1984 and remained central to the curatorial team until he resigned in 1989. Since then, his activity turned to be mainly international: he has been traveling, lecturing and curating exhibitions in more than 80 countries. <mask> was adjunct curator at the New Museum of Contemporary Art, New York, from 1995 to 2009. Since 1995 he is advisor in the Rijksakademie van Beeldende Kusten in Amsterdam. His publications include several books on art and art theory (and a short stories' volume), and more than 600 articles, reviews and essays have appeared in numerous magazines, including: Art Nexus, Cahiers,  Lápiz, Neue Bildende Kunst, Oxford Art Journal, Poliester, Third Text. Among other volumes, <mask> has edited Beyond the Fantastic: Contemporary Art Criticism from Latin America and co-edited (with Jean Fisher) Over Here: International Perspectives on Art and Culture.His theoretical essays – which have been influential in discussing art’s cultural dynamics in an internationalized world, and contemporary Latin American art – are dispersed in English, but have been collected in books in Caracas and Madrid in Spanish, and in Chinese in Beijing. <mask> was the Artistic Director of PHotoEspaña, Madrid (2011–2013), the Chief Curator of the 4th Poly/Graphic San Juan Triennial (2015-2016), and co-curator of the 3rd Documents, Beijing (2016). Early work
 <mask> obtained his licenciatura in History of Art at the University of Havana in 1977. Since the early 1970s he was working as art, cinema and theater critic, researcher and journalist in Havana. He published thorough investigations on Servando Cabrera Moreno and Manuel Mendive two Cuban artists who had previously been marginalized for the erotic and religious Afro-Cuban (Mendive) content of their art, and as a result of homophobic cultural policies. <mask> became the main critic and “ideologist” of the new Cuban art, which he supported since its inception. In the 1980s this movement renovated the Cuban art scene, breaking away from official dogmatism and introducing contemporary critical tendencies.It was successful in pushing the Ministry of Culture to open up towards a more liberal cultural policy. <mask>’s critical writings on the new Cuban art were instrumental to this turn, while he also promoted the new artists internationally. This movement triggered a critical and reflexive inclination that distinguishes Cuba’s arts until today. <mask>’s work has also always looked beyond Cuba, as can be seen in his book El diseño se definió en Octubre (Design was Defined in October), about Russian avant-garde art and design and its worldly impact, published in Havana in 1989 and Bogotá in 1992. Havana Biennial
The first Havana Biennial took place in 1984. It became the fourth international biennial (after Venice, São Paulo and Sydney) and the sixth huge international periodic art event to be established —following the aforementioned biennials, the Carnegie International and Documenta. Supported by the Cuban government, it was a vast show, but restricted to Latin America.In 1986 the 2nd Havana Biennial presented  the first global show of contemporary art ever: more than 50 exhibitions and events that gathered 690 artists from 57 countries focusing on postcolonial contemporary art and not on traditional and religious practices. The next Biennial edition, in 1989, introduced radical curatorial changes that moved it away from the Venice and São Paulo paradigms, launching a new model that influenced the way in which the new biennials were organized. Transformations included basing the whole event (shows, conferences, workshops, etc.) on a general theme, the combination of a centralized curation that avoided national representations with a decentralized structure involving a constellation of multiple events, the link with the city, and the eradication of awards. Recently, it has become clear that it was the Havana Biennial and not Les magiciens de la terre –an exhibition that was advertised as “the first global show”—, that was initiating the way in which globalization will take shape in art, triggering “a new breed of contemporary biennials born of a global context” (Istanbul, Johannesburg, Gwangju, Lyon, etc.). The Havana Biennial approached for the first time the multiple practices of contemporary art around the world, out of the Western mainstream. Since 1984, <mask> was Havana Biennial's "leader of the curatorial work", reformulating the premise and methodology of the event, with which his “own aesthetic and intellectual interests became deeply embedded.” He resigned in 1989, immediately after the 3rd Biennial, due to the escalating repression in the cultural sector, and to political contradictions with the Cuban regimen and about the Biennial’s future.International work
After his resignation to the Havana Biennial, <mask> was banned to publish, curate and lecture in his country until today, and since then he has been working as a freelance internationally. In 1990 he was a  Guggenheim Fellow. From 1995 to 2009 he was adjunct Curator at the New Museum of Contemporary Art, New York, although his work was seriously hampered by legal constraints due to the United States embargo against Cuba, where he continued to live. Together with Dan Cameron he set off a program at the Museum that introduced a broader international approach in the New York art scene. His radical notion of “the museum-as-hub”  transformed the New Museum’s Education Department to include what is called the Museum as Hub, “a new model for curatorial practice and institutional collaboration established to enhance our understanding of contemporary art. Both a network of relationships and an actual physical site…”  with an international program of its own. Mosquera's theoretical work pioneered critical discussions about the complex cultural processes of modern and contemporary art from non-mainstream countries, especially in relation to mainstream art, globalization and postcolonial dynamics.He has also contributed to promote an open, multifaceted view on Latin American art, moving away from the identity stereotypes that prevailed in the 1980s – his standings being sometimes polemical. The exhibition Ante America, which he co-curated in 1992 (see below), was a landmark for this new view on Latin American art. Mosquera’s ideas, position and curatorial and editorial practice have been significant in the new scenario of broad international circulation of art. He introduced the notion of "from here" to oppose the “appropriation” paradigms – such as the Brazilian idea of “anthropophagy” – that prevailed to discuss postcolonial art’s strategies, conferring it an active role in the construction of global metaculture. The curator's work has lately focused on projects out of the white cube, trying to achieve artistic communication with broader audiences, beyond the art world’s elite. Some examples are his contribution to the Liverpool Biennial, and shows that have tried to create an active dialogue with the public space and to involve people in the streets, as CiudadMultipleCity. Arte>Panamá 2003 (), The Sky Within My House, Contemporary Art in Patios of Quito (), and ¡Afuera!(see all below). Main curatorial work
Co-curator Guangzhou Image Triennial 2021: Rethinking Collectivity, Guangdong Museum of Art, March 9 to May 29, 2021. Useless: Machines for Dreaming, Thinking and Seeing., Bronx Art Museum, March 27, 2019 to September 1, 2019. Adiós Utopia. Dreams and Deceptions in Cuban Art Since 1950, The Museum of Fine Arts, Houston, Texas, USA, March 3, 2017 (with René Francisco Rodríguez and Elsa Vega), Walker Art Center, Nov 11, 2017–Mar 18, 2018. Cristina Lucas. Manchas en el silencio, Sala Alcalá 31, Madrid, 14 de septiembre de 2017.BRIC-à-brac. The Jumble of Growth, Today Art Museum, Beijing, December 10, 2016 (with Huang Du). Vida. Gervasio Sánchez, CEART Fuenlabrada, Madrid, Spain, December–March, 2016; Afundación, Santiago de Compostela, October 2017-January 2018; Sala de Exposiciones de la Diputación de Huesca, Huesca, March–May 2018; Afundación, A Coruña, June–September 2018. Cristina Lucas. Iluminaciones profanadas, Museo de Arte Contemporáneo de Puerto Rico, Santurce, San Juan, November 18, 2016. Fernando Sánchez Castillo.Hoy fue también un día soleado, Sala de Arte Público Siqueiros, Mexico City, June 7, 2016. 4th Poly/Graphic San Juan Triennial: Latin American and the Caribbean, Displaced Images / Images in Space, Antiguo Arsenal de la Marina Española, Old San Juan; Casa Blanca; Cagas Art Museum; Museum of Art of Puerto Rico; Museum of Art and History of San Juan; Museum and Center for Humanistic Studies Dr. Josefina Camacho Camacho de la Nuez, Turabo University; Museum of History, Anthropology and Art, UPR Río Piedras; Ponce Art Museum; Puerto Rico Museum of Contemporary Art; Puerto Rico, October 24, 2015 to February 28, 2016 (with Alexia Tala and Vanessa Hernández Gracia). Perduti nel Paesaggio / Lost in Landscape, Museo di arte moderna e contemporánea di Trento e Rovereto, April 4, 2014. Artificial Amsterdam. The City as Artwork, de Appel, Amsterdam, June 28, 2013. Manuel Álvarez Bravo. Un photographe aux aguets, Jeu de Paume, Paris, October 15, 2012; Fundación MAPFRE, Madrid,  February 12, 2013; Museo Amparo, Puebla, June 2013 (with Laura González Flores).Here We Are. Richard Avedon, Richard Billingham, Paz Errázuriz, Lilla Szász, Círculo de Bellas Artes, Madrid, June 7, 2011 (with Mónica Portillo). Face to Time, Real Jardín Botánico, PHotoEspaña, Madrid, June 1, 2011. Ron Galella. Paparazzo Extraordinaire, Círculo de Bellas Artes and Loewe Gran Vía, PHotoEspaña, Madrid, June 1, 2011; Einladung, Berlin, December 9, 2011; FOAM, Amsterdam, June 7, 2012; Centro Sociocultural Novacaixagalicia, A Corunha, October 3, 2013; Galería Fundación Novacaixagalicia, Vigo, January 23, 2014. Face Contact, Centro de Arte Teatro Fernán Gómez, PHotoEspaña, Madrid, May 31, 2011; Iberia Center for Contemporary Art, Beijing, April 28, 2012. 1000 Faces / 0 Faces / 1 Face.Cindy Sherman, Thomas Ruff, Frank Montero, Sala Alcalá 31, PhotoEspaña, Madrid, May 30, 2011. Fayum Portraits + Adrian Paci. No Visible Future, Museo Arqueológico, PhotoEspaña, Madrid, May 30, 2011. Crisiss. Latin America, Art and Confrontation. 1910–2010, Palacio de Bellas Artes and Ex Teresa Arte Actual, Mexico City, March 12, 2011. ¡Afuera!Arte en espacios públicos, Córdoba, Argentina, October 8, 2010 (with Rodrigo Alonso). Arte contemporáneo y patios de Quito, September 4, 2010. Denarrations, PanAmerican Art Projects, Miami, November 14, 2009. The Sky Within my House. Contemporary Art in 16 Patios of Cordoba. October 22, 2009. 7 + 1 Project Rooms, Museo de Arte Contemporáneo de Vigo, October 10, 2008.States of Exchange. Artists from Cuba, INIVA, London, January 22, 2008 (with Cylena Simonds). Border Jam, Regional Encounter of Art 2007, Montevideo. Museo Nacional de Artes Visuales, Museo Municipal Juan Manuel Blanes, Centro Cultural de España, Museo y Archivo Histórico Municipal (Cabildo), public realm, August 9, 2007. Transpacific. An Encounter in Santiago, La Moneda Palace Cultural Center, Santiago, Chile, May 17, 2007. Liverpool Biennial International 06, September 16, 2006 (with Manray Hsu).Cordially Invited, BAK and Central Museum, Utrecht, October 30 to December 31, 2004 (with Maria Hlavajova). Panorama of Brazilian Art 2003 (Desarrumado). 19 Disarrangements, Museum of Modern Art,  São Paulo, October 16 to November 30, 2003; Paço Imperial, Rio de Janeiro, December 16, 2003 to February 2004; Museum of Modern Art Aloísio Magalhaes, Recife, March 11 to May 6, 2004; MARCO, Museo de Arte Contemporáneo de Vigo, January to May, 2005; Museo de

masks:
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texts:
 Arte del Banco de la República de Colombia, Bogotá, November 2008 to February 9, 2009. CiudadMultipleCity. Arte>Panamá 2003 (International Urban Art Event) March 20 – April 20, 2003 (with Adrienne Samos)

It’s Not What You See. Perverting Minimalism, Centro de Arte Reina Sofía, Madrid, December 12, 2000 to February 19, 2001

Cinco continentes y una ciudad. III Salón Internacional de Pintura, Museo de la Ciudad de México, August, 2000

Absent Territories, Casa de América, Madrid, January 28 to March 26, 2000

Cildo Meireles, New Museum of Contemporary Art, New York, November 18, 1999 to March 15, 2000; MOMA São Paulo, July 15 to August 20, 2000; MOMA Río de Janeiro, October 5 to December 2, 2000 (with Dan Cameron)

Cinco continentes y una ciudad.Artistas Cubanos Contemporáneos, Museo Alejandro Otero, Caracas, February–March 1991; Biblioteca Luis Angel Arango, Bogotá, April 4 to May 17, 1991 (with Graciela Pantin)

The Nearest Edge of the World. Art and Cuba Now, Massachusetts College of Art Main Gallery, Boston, November 7 to December 5, 1990; The Bronx Museum Of Art, New York, 1991; University of the South, Sewanee, 1991; Anderson Gallery, Virginia Commonwealth University, Richmond, 1991; The School of the Art Institute of Chicago, 1992; CU Art Galleries, Colorado University, Boulder; Southeastern Center for Contemporary Art, SECCA, Winston-Salem, 1993; Mexico Arte, Austin, 1993; Nexus Contemporary Art Center, Atlanta, 1994; Art Shows International, Sarasota, 1994 (with Rachel Weiss)

3rd Havana Biennial, Centro Wifredo Lam, 1989

African Wire Toys, 3rd Havana Biennial, Museo de Artes Decorativas, Havana, November 1 to December 31, 1989

Raíces en Acción. Nuevos Artistas de Cuba, Museo Carrillo Gil, Mexico D. F., November 10, 1988; Museo Biblioteca Pape, Coahuila, January to March, 1989

Africa Inside Cuba: 3 Artists, Kinshasa and Maputo, 1988

Tres Artistas Cubanos. Minerva Cuevas, Wifredo Lam, Ricardo Rodríguez Brey, Museo Nacional de Kinshasa, 7 al 12 de agosto de 1987

Modern Makonde Sculpture, Centro Provincial de Artes Plásticas y Diseño, Havana, May 22, 1987

2nd Havana Biennial, Centro Wifredo Lam, November, 1986

Africa Inside Cuba: 6 Artists, Museo Nacional de Antropología de Angola, Luanda, April–May, 1986; Núcleo de Arte, Maputo, 1986; Centro Wifredo Lam, Havana, May–June, 1986

1st Havana Biennial, Centro Wifredo Lam, 1984

Jóvenes Artistas. Retrospectiva, Galería Lalo Carrasco, Hotel Habana Libre, Havana, October, 1981 (with Flavio Garciandía and José Veigas)

Manuel Mendive: un Pintor de lo Real Maravilloso, Galería L, Havana, 1981

Obras Inéditas de Servando Cabrera Moreno, Galería L, Havana, September, 1979

Books
“Dark Electricity”, Allora & Calzadilla. Specters of Noon, The Menil Collection, Houston, 2020. “Jeito”, 20 em 20.Os Artistas da Próxima Década, São Paulo, 2020. Arte desde América Latina (y otros pulsos globales), Ediciones Cátedra, Madrid, 2020. “Un gran tiempo de híbridos”, Híbridos. El cuerpo como imaginario, Museo del Palacio de Bellas Artes, Ciudad de México, 2018, p. 341-356. “crisisss. Arte y confrontación en América Latina. <mask> Mosquera.México DF, México, 2011”, Juan José Santos Mateo: Curaduría de Latinoamérica. 20 entrevistas a quienes cambiaron el arte contemporáneo, CENDEAC, Murcia, 2018, p. 323-337. “Arte y utopía. 1970 a 1990: dos décadas en guerra” and “Tania Bruguera. Artivismo y represión en Cuba. Informe de un testigo presencial”, Andrés Isaac Santana (editor): Lenguaje sucio. Narraciones críticas sobre el arte cubano Tomo I y II, Editorial Hypermedia, 2019, p. 33-43 y 487-492."Historia, tiempo, violencia”. Longitud de onda. Cristina Lucas. Turner, Madrid, 2017, p. 51-61. “La Geo-Política del Arte Contemporáneo" (Co-editor & co-author with Nikos Papastergiadis). ERRATA#14. Geopolíticas del Arte Contemporáneo.July–December, 2015, pp. 18–38. “Tong”. Magdalena Atria. Consejo Nacional de la Cultura y las Artes, Pontificia Universidad Católica de Chile, Galería XS, Santiago de Chile, 2015, pp. 60–71, 168-171. “Gentlemen of Transgression”.Daniele Tamagni: Fashion Tribes. Global Street Style. New York: Abrams, 2015, p. 196-199. "Gentlemen of Transgression”. Daniel Tamagni: Global Style Battles. Identités et sud cultures urbaines. Paris: Éditions La Découverte, 2015, pp.196–199. "Prólogo”. John A. Loomis: Una revolución de formas. Las olvidadas escuelas de arte de Cuba. Barcelona: dpr, 2015, pp. 21–23. “Além da antropofagia: arte, internacionalização e dinâmica cultural”.Histórias Mestiças. Antologia de textos (organized by Adriano Pedrosa and Lilia). Río de Janeiro: Cobogó, 2014, pp. 328–338. “El arte en tiempos híbridos”. Visiting Minds 2013. Pedagogía radical: El arte como educación.Panamá: Sarigua, 2015, pp. 192–200; 214-221. “René Portocarrero”. Todo sobre Portocarrero. Compilación de textos críticos 1936-2010 (compiled by Ramón Vázquez Díaz, Axel Li, José Veigas). Havana: Fundación Arte Cubano, 2014, pp. 307–316.Infinite Islands. Art, Culture, Internationalization. Beijing: BeePub, 2014. Adriano Pedrosa; Luisa Duarte (editors): ABC - Arte brasileira contemporânea (curator & contributor). São Paulo: Cosac Naify, 2013, pp. 384–385. “La Biennale de La Havane : une utopie concrète”.Sophie Orlando, Catherine Grenier (editors): Art et mondialisation. Anthologie de textes de 1950 à nos jours. Paris: Centre Pompidou, 2013, pp. 229–234. “Jatibonico. Notas sobre migración y dinámica cultural”; “Diálogo entre <mask> <mask> y José Manuel Springer”. José Manuel Springer (coordinator): Migraciones: territories y fronteras.Desplazamientos culturales y nomadismo artístico. Valencia: Editorial Universidad Politécnica de Valencia, 2012, pp. 31–39;71-79. “Beyond Anthropophagy: Art, Internationalization, and Cultural Dynamics”: Hans Belting, Andrea Buddensieg y Peter Weibel (editors): The Global Contemporary and the Rise of New Art Worlds (contributor). Karlsruhe, Cambridge (MA) and London: Center for Art and Media and The MIT Press, 2013, pp. 233–238. “Virginia Pérez-Ratton”.Víctor Hugo Acuña Ortega, Alexandra Ortiz Wallner, Dominique Ratton Pérez (editors): Virginia Pérez-Ratton. Travesía por un estrecho dudoso. San José: TEOR/éTICA, 2012, pp. 267–268. “Arte y nuevos públicos, ¿una aporía?”. Negociaciones: Puentes estratégicos entre el arte y los públicos. Honduras, Panama: CAVC/MUA, Fundación Arte>Panamá, 2012, pp.27–29. “Facing the Americas”; “From Latin American Art to Art from Latin America”. Héctor Olea, Mari Carmen Ramírez, Tomás Ybarra-Frausto (organizers): Resisting Categories: Latin American and / or Latino? Critical Documents of 20th Century Latin American and Latino Art. New Haven and London: The Museum of Fine Arts, International Center for the Arts of the Americas, Houston, Yale University Press, 2012, pp. 1068–1076; 1123-1132. Desde aquí.Contexto e internacionalización (contributor & editor). Madrid, PHotoEspaña, 2012, www.phe.es. “Del arte latinoamericano al arte desde América Latina”. Adriano Pedrosa (editor): Art Nexus. Brasil en Colombia. Antología de textos. Bogotá: Arte en Colombia, 2011, pp.164–168. “Luis González Palma habla con <mask> Mosquera”. Conversaciones con Fotógrafos / Conversations with Photographers (contributor). Madrid: La Fábrica, 2011. “Retratos de Fayum + Adrian Paci. Sin futuro visible”. Jean-Christophe Bailly: La llamada muda.Ensayo sobre los retratos de El Fayum. Madrid: Akal, PHotoEspaña, Madrid, 2011, pp. III-V.

Interfaces. Retrato y comunicación (contributor & editor). Madrid: La Fábrica Editorial, PHotoEspaña, 2011, pp. 7–15. “Más allá del ajiaco.Notas sobre lengua y cultura en el Caribe”. Utrópicos. Contexto. Pontevedra: XXXI Bienal de Pontevedra, 2010, pp. 49–55. “The Havana Biennial: A Concrete Utopia”; “The Marco Polo Syndrome: Some Problems around Art and Eurocentrism”. Elena Filipovic, Mieke van Hal & Solveig ÿvsteb (editors): The Biennial Reader.An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art, Bergen/Ostfildern, Bergen Kunsthall/Hatje Cantz Verlag, 2010, pp. 198–207; 416-425. Caminar con el Diablo. Textos sobre arte, internacionalismo y culturas. Madrid: Exit Publicaciones, 2010. “Against Latin American Art”. Contemporary Art in Latin America (contributor & advisor).London: Black Dog Publishers, 2010, pp. 11–23. Rotterdam Dialogues. The Critics, The Curators, The Artists. Rotterdam: Witte de With & Posteditions, 2010, pp. 190–191. “The New Cuban Art”.Ales Erjavec (editor): Postmodernism and the Post Socialist Condition. Politicized Art under Late Socialism. Beijing, 2009 (chinese), pp. 276–327. “Walking with the Devil: Art, Culture and Internationalization”. Helmut Anheier & Yudhishthir Raj Isar (editors): Cultural Expression, Creativity & Innovation. London, Thousand Oaks, Nueva Delhi, Singapore: SAGE, 2010, pp.47–56. “Cuba in Tania Bruguera’s work: The body is the social body”. Tania Bruguera: On the political imaginary. Milano: Ed Charta, 2009, pp. 23–35. “Jineteando al diablo. Arte contemporáneo, cultura y (des)extranjerización”.Néstor García Canclini (editor): Extranjeros en la tecnología y en la cultura. Buenos Aires: Ariel, Fundación Telefónica, pp. 51–63. “La isla infinita: introducción al nuevo arte cubano”; “Arte preso. Ángel Delgado 1242900”; “Arte haciendo política. Eduardo Ponjuán y René Francisco”- Andrés Isaac Santana (editor): Nosotros, los más infieles. Narraciones críticas sobre el arte cubano (1993-2005).Murcia: CENDEAC, pp. 81–91; 314-317; 488-490. “Todo lo que usted necesita es amor”. I Insulted Flavio Garciandía in Havana. Mexico City: Turner, 2009, pp. 291–305. “Globalización, algunas disyuntivas culturales”.I Encuentro de Arquitectura Tropical. San José: Instituto de Arquitectura Tropical, 2008, pp. 97–107. “Desde aquí: arte contemporáneo, cultura e internacionalización”. Javier Domínguez, Carlos Arturo Fernández, Efrén Giraldo, Daniel Jerónimo Tobón (editors): Moderno/contemporáneo: un debate de horizontes. Antioquia: La Carreta del Arte, Universidad de Antioquia, 2008, ps. 111-133.“Esferas, ciudades, transiciones. Perspectivas internacionales del arte y la cultura”. Pedro de Llano (editor): Wrong Site. Arte y globalización. A Coruña: Fundación Luis Seoane, 2008, pp. 112–123. “Nfinda mató a Versalles”.Marta Palau. Naualli. Mexico, D.F. : Turner, 2006, pp. 234–241. Copying Eden. Recent Art in Chile.Santiago: Puro Chile, 2008 (booklet). “Caminando con el Diablo”; “José Damasceno”; “Carlos Garaicoa”; “Jose Antonio Hernández-Diez”; “Wilfredo Prieto”; “Adriana Varejao”. Rosa Olivares (editor): 100 artistas latinoamericanos. Madrid: Exit, 2007, pp. 21–23; 134; 182; 214; 362; 422. “The Urban Revolution”. Arjan van Helmond & Stani Michiels (editors): Jakarta Megalopolis.Horizontal and Vertical Observation. Amsterdam: Valiz, 2007, pp. 22–24. “ciudadMULTIPLEcity. Art with the City: an Experiment in Context”. What’s Up, Biennale? The Internacional Symposium 2007.Busan: Busan Biennale, 2007, pp. 39–47 & DVD with Rich Pitter documentary. “Seven Notes on the Museum-as-Hub”. Re-Shuffle/Notions of an Itinerant Museum. New York: Center for Curatorial Studies, Bard College, 2006. “Arte con la ciudad”. <mask> <mask>, Adrienne Samos (editors): ciudadMULTIPLEcity.Arte>Panamá 2003. Urban Art and Global Cities: an Experiment in Context. Amsterdam: KIT Publishers, 2005, pp. 22–43. “Renovación en los años 80”; “La plástica cubana en un nuevo siglo”; “Crece la yerba”; “Reporte del hombre en La Habana”; “Arte y cultura crítica en Cuba”. Magaly Espinosa y Kevin Power (editores): Antología de textos críticos: el nuevo arte cubano. Santa Mónica: Perceval Press, Santa Mónica, 2006, pp.17–23; 59-61; 89-90; 141-146; 195-198. Copiar el Edén. Arte reciente en Chile (editor & introduction). Santiago: Puro Chile Publishers, 2006. “El nuevo arte cubano”. Pablo Oyarzún, Nelly Richard, Claudia Zaldívar (editors): Arte y política. Santiago de Chile: Universidad ARCIS,

masks: Gerardo Gerardo Mosquera Gerardo Gerardo Mosquera


texts:
 Facultad de Artes, Universidad de Chile, 2005, pp.253–279. "Interview with Cildo Meireles". pressPlay. Contemporary Artists in Conversation. London: Phaidon Press, 2005, pp. 462–475. “Codo a codo.Conversación entre <mask> <mask>, Francis Alÿs, Rafael Ortega y Cuauhtémoc Medina”. Francis Alÿs, Cuauhtémoc Medina (editors): Cuando la fé mueve montañas. Madrid: Turner, Madrid, 2005, pp. 64–105. Francis Alÿs: The Modern Procession (contributor). New York: Public Art Fund, 2004, p. 151. Over Here.International Perspectives on Art and Culture (editor & introduction with Jean Fisher). New York, Cambridge, London: New Museum of Contemporary Art/The MIT Press, 2004. “The Marco Polo Syndrome: Some Problems around Art and Eurocentrism”. Zoya Kocur and Simon Leung (editors): Theory in Contemporary Art since 1985. Malden, Oxford and Victoria: Blackwell Publishing, 2005, pp. 218–225. “Modernism from Afro-America: Wifredo Lam”.Gilane Tawadros (editor): Changing States. Contemporary Art and Ideas in an Era of Globalisation. London: Institute of International Visual Arts, 2004, pp. 278–283. “A Reproduction of Solitude”. Irene Kopelman: Documenting Three Interventions in a Space. Amsterdam: Rijksakademie van Beldende Kunsten, 2003.“The New Cuban Art”. Ales Erjavec (editor): Postmodernism and the Postsocialist Condition. Politicized Art under Late Socialism. Los Angeles/Berkeley/London: University of California Press, 2003, pp. 208–246. “Global Islands”; “From”. Okwui Enwezor, Carlos Basualdo, Ute Meta Bauer, Susanne Ghez, Sarat Maharaj, Mark Nash and Octavio Zaya (editors): Crèolitè and Creolization, Documenta 11_Platform3.Ostfildern-Ruit: Museum Fridericianum; Hatje Cantz Publishers, 2003, pp. 87–92, 145-148. “El arte latinoamericano deja de serlo”. Víctor Manuel Rodríguez (editor): Prácticas artísticas, enfoques contemporáneos. Bogotá: Universidad Nacional de Colombia, 2003 pp. 35–47. “Alien-Own/Own-Alien.Notes on Globalisation and Cultural Difference”. Nikos Papastergiadis (editor): Complex Entanglements. Art, Globalisation and Cultural Difference. London: Rivers Oram Press, 2003, pp. 18–29. “Seis nuevos pintores”; “Volumen uno”; “Nuevos artistas”; “Renovación en los años ochenta”; “Feminismo en Cuba”; “Los catorce hijos de Guillermo Tell”. Margarita González, Tania Parson, Josè Veigas (anthology): Déjame que te cuente.Antología de la crítica en los 80, Havana: Artecubano Ediciones, 2002, pp. 15–18; 19-20; 127-131; 153-162; 255-258; 273-282. “Modernidad y africanía: Wifredo Lam en su isla”; “Mi pintura es un acto de descolonización”. José Manuel Noceda (anthology): Wifredo Lam. La cosecha de un brujo, Havana, Letras Cubanas, 2002, pp. 245–279, 522-530. “Sobre arte, globalización y culturas”.Rafael Hernández y Rafael Rojas (selection, prologue and notes): Ensayo cubano del Siglo XX. Mexico D.F. : Fondo de Cultura Económica, 2002, pp. 620–637. "Notas sobre globalización, identidades y nomadismo”. Globalización e identidad cultural, Seminario Internacional, VII Bienal de Cuenca, 2002, pp. 17–19."The Marco Polo Syndrome”. Rasheed Araeen, Sean Cubitt, Ziauddin Sardar (compilators): The Third Text Reader on Art, Culture and Theory. London, New York: Continuum, 2002, pp. 267–273. Saint James Guide to Hispanic Artists (adviser). Saint James: Saint James Press, 2002. “The Social Function of Art in Cuba since the Revolution of 1959”.David Craven: Art and Revolution in Latin America. 1910-1990. New Haven and London: Yale University Press, 2002, pp. 180–182. "Sobre arte, globalización y diferencia cultural”. Identidad, Globalización y Diferencia, I Foro Internacional Paraguay 2001. Paraguay: Ediciones Faro para las Artes, 2002, pp.53–91. "Good-bye identidad, welcome diferencia: del arte latinoamericano al arte desde América Latina”. Rebeca León (compilator): Arte en América Latina y cultura global. Santiago: Universidad de Chile/Dolmen Ensayo, 2002, pp. 123–137. "Moors with Christians, Anthropophagy and Coca-Cola. Two Notes on Transcultural Processes”.Mondialisation et Postcolonialisme. Dèfinitions de la Culture Visuelle V. Montreal: Museè d'Art Contemporain de Montrèal, 2002, pp. 49–57. "Eye, Mouth, and Ear”. Carin Kuoni (editor): Words of Wisdom. A Curator's Vade Mecum on Contemporary Art. New York: Independent Curators International, 2001, pp.123–124. "Globalization: Some Cultural Dilemmas”. Alexander Tzonis, Liane Lefaivre and Bruno Stagno (editors): Tropical Architecture. Critical Regionalism in the Age of Globalization. London, The Hague: Wiley-Academy, Prince Claus Fund, 2001, pp. 59–64. "Notes on Globalisation, Art and Cultural Difference”.Silent Zones. On Globalisation and Cultural Interaction. Amsterdam: Rijsakademie van Beeldende Kunsten, 2001, pp. 26–62. “New Cuban Art Y2K”. Holly Block (editor): Art Cuba. The New Generation.New York: Harry N. Abrams Publishers, 2001, pp. 13–15. Fresh cream (contributor). London: Phaidon Press, 2000. “Suyo-ajeno y ajeno-suyo. Dos notas sobre migración y desplazamiento cultural”. Adiós identidad.Arte y cultura desde América Latina (editor & contributor). Badajoz: Museo Extremeño e Iberoamericano de Arte Contemporáneo, 2001, pp. 173–184. "Arte y religión en Elso”. Rachel Weiss (editor): Por América. La obra de Juan Francisco Elso. Mexico D.F.: UNAM,2000, pp. 71–87. "Some Notes on Globalization and Difference”. Birgit Baeroe (editor): Deterritorializations. Art and Aesthetics in the 90s. Oslo, Nora: Spartacus Forlag & Bokförlaget Nya Doxa, 2000, pp. 127–135.“<mask> <mask> in Conversation with Cildo Meireles”. Cildo Meireles. London: Phaidon Press, 1999, pp. 6–35. "Robando del pastel global. globalización, diferencia y apropiación cultural”. José Jiménez y Fernando Castro (editors): Horizontes del arte latinoamericano.Madrid: Tecnos, 1999, pp. 57–67. Servando Cabrera Moreno. Dibujo. Havana: Editorial Letras Cubanas, 1999. “Foreword”. John A. Loomis: Revolution of Forms.Cuba’s Forgotten Art Schools. New York: Princeton Architectural Press, 1998, pp. XXIX-XXXI. "Islas infinitas: sobre arte, globalización y culturas”. Mundialización y periferias. San Sebastián: Arteleku 1998, pp. 123–139."La autobiografía del hombre-cucaracha”; “La isla se va”. Las artes plásticas en Pinar del Río: un vitral de estos tiempos. Pinar del Río: Vitral, 1996. "Wim Delvoye”. Wim Delvoye. London, Gent: Delfina, Luc Derycke, 1996, pp. 7–34.The Dictionary of Art (contributor). London: Macmillan Publishers, 1996. Cozido e Cru. São Paulo: Fundação Memorial de América Latina, 1996. "Cuba 1950-1990”. Latin American Art in the 20th Century. London: Phaidon Press, 1996; Madrid: Nerea, 1997."Eleggua at the (Post?) Modern Crossroads. The Presence of Africa in the Plastic Art of Cuba”. Arturo Lindsey (editor): Santería Aesthetics in Contemporary Latino Art. Washington: Smithsonian Institution, 1996, pp. 225–258. "Estética y marxismo”.Gabriel Vargas Lozano (editor): En torno a la obra de Adolfo Sánchez Vázquez. Mexico D.F. : UNAM, 1995, pp. 391–406. "Historia del arte y culturas”. Los discursos sobre el arte, XV Coloquio Internacional de Historia del Arte. Mexico D.F.: UNAM, 1995, pp. 429–443. Contracandela. Caracas: Monte Ávila Editores, 1995. “Modernism from Afro-America: Wifredo Lam”. Beyond the Fantastic. Contemporary Art Criticism from Latin America (editor & contributor).London & Cambridge, Massachusetts: INVIA & MIT Press, 1995, pp. 121–133. "On Art, Politics and the Millennium in Latin America”. Strategies for Survival - Now!. Lund: AICA, 1995, pp. 120–141. "Some Problems in Transcultural Curating”.Jean Fisher (editor): Global Visions. Towards a New Internationalism in the Visual Arts. London: Kala Press, 1994, pp. 133–139. "Art Through the City (Carlos Garaicoa)”. Liam Kelly (editor): The City as Art. Interrogating the Polis.Belfast, AICA (Irish Section), 1994, pp. 75–77. "La apropiación afroamericana del modernismo: Wifredo Lam”. Arte, Historia e Identidad en América. Visiones Comparativas, XVII Coloquio Internacional de Historia del Arte, UNAM, 1994, II, pp. 535–541. “Tercer mundo y cultural occidental” (included in appendix).Xavier Seoane: Rito ou Rendición. Unha aproximación aos presupostos teóricos e criativos da arte galega. La Coruña: Ediciós do Castro, 1994, pp. 486–489. "Art Criticism and Cultures”. American Visions. Artistic and Cultural Identity in the Western Hemisphere.New York: ACA Books, 1994, pp. 22–24. "Vid skilgevägen. Konstens och kulturernas historia”. Kulturin den Globala Byn. Lund: Aegis Förlag, 1994, pp. 119–130."Africa dentro de la plástica caribeña”; “Raíces en acción”. Margarita Sánchez Prieto (editora): Visión del arte latinoamericano en la década de 1980. Lima: PNUD/ UNESCO, 1994, pp. 145–156;163-167. "El síndrome de Marco Polo”. Cuadernos del Museo, n.1. Montevideo: Museo Municipal de Bellas Artes Juan Manuel Blanes, 1993, pp.3–10. "The Strokes of Magical Realism in Manuel Mendive”. Pedro Pérez Sarduy y Jean Stubbs (editors): Afrocuba. An Anthology of Cuban Writing on Race, Politics and Culture. Melbourne: Ocean Press, Melbourne, 1993, pp. 146–153. Del Pop al Post (editor).Havana: Editorial Arte y Literatura, 1993. El Diseño se Definió en Octubre. Havana: Editorial Arte y Literatura, 1989; Bogotá: Banco de la República, 1992. "Plastic Arts in Cuba”; “Remarks”. Rachel Weiss (editor): Being America. New York: White Pire Press, 1991, pp. 61–70; 189-193.“Prólogo”. Roberto Segre: Lectura crítica del ambiente cubano. Havana: Editorial Letras Cubanas, 1990, pp. 7–22. "África dentro de la plástica caribeña." Plástica del Caribe (editor & contributor). Havana: Editorial Letras Cubanas, 1989, pp.137–164. "Sánchez Vázquez: marxismo y arte abstracto”. Juliana González, Carlos Pereyra y Gabriel Vargas Lozano (editores): Praxis y Filosofía. Ensayos en homenaje a Adolfo Sánchez Vázquez. Mexico: Grijalbo, 1987, pp. 231–252. “Prólogo”.Henri Perruchot: Toulouse-Lautrec. Havana: Editorial Arte y Literatura, 1987, pp. 1–13. Sobre Wifredo Lam (editor). Havana: Editorial Letras Cubanas, 1986. Con la Primera Cantante. Havana: UNEAC, 1984.Exploraciones en la Plástica Cubana. Havana: Editorial Letras Cubanas, 1983. Trece Artistas Jóvenes. Havana: Universidad de La Habana, 1981. Cuba: pintura joven. Havana: Dirección de Artes Plásticas y Diseño, Ministerio de Cultura, 1981. "El museo del presidio”.Marta Rojas (selection and introduction): Reportajes de la nueva vida. Havana: Editorial Letras Cubanas, 1980, pp. 428–442. The Cultural Policy of Cuba. Paris: UNESCO, 1978 & 1979. "Subir el palo ensebado. Cuatro preguntas molestas a René Depestre”.En algún lugar de la memoria. Premios de Periodismo Concurso 13 de Marzo. Havana: Universidad de La Habana, 1977, pp. 9–20

“En la casa”. Antología de cuentos. Concurso Literario 13 de Marzo. Havana: Universidad de La Habana, 1971, pp.38–42. - <mask> <mask>'s opening words, published by Universes in Universe
Perduti nel Paesaggio / Lost in Landscape, Museo di arte moderna e contemporánea di Trento e Rovereto, 2014. Arte y Critica - Matar al padre: entrevista a <mask> <mask>
From Here. Context and Internationalization, Madrid, La Fábrica Editorial, PHotoEspaña, 2012 (editor and contributor). Digital publication. PHotoEspaña 2012
Iberoamericana Vol. 12, Num.45 (2012) - Desplazamientos, contextos y compromisos. Revista Codigo - Entrevista con motivo de Crisisss. América Latina, arte y confrontación 1919-2010
Museum as Hub
Press Release - 20 Dissarangements, Panorama on Brazilian Art, MARCO, Museo de Arte Contemporáneo de Vigo, 2005. CiudadMultipleCity. Arte>Panamá 2003
Muestra Internacional de arte Contemporáneo en la Ciudad de Córdoba
Arte Contemporáneo en Patios de Quito
Ponencia: ADIÓS A LA ANTROPOFAGIA: ARTE, INTERNACIONALIZACIÓN Y DINÁMICAS CULTURALES | CIRCULO A
¡Afuera! Arte en Espacios Publico | nexo5.com

Living people
Cuban curators
Cuban art critics
People from Havana
Cuban people of Galician descent
Art curators
1945

masks: Gerardo Mosquera Gerardo Mosquera Gerardo Mosquera Gerardo Mosquera


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<mask>, 1st Viscount <mask>,  (13 July 1854 – 26 September 1924), was a British Unionist politician. In a political career spanning over 40 years, he held office as President of the Board of Agriculture, President of the Local Government Board, Chief Secretary for Ireland, Secretary of State for the Colonies and First Lord of the Admiralty. He is also remembered for his links with Irish Unionism, and served as Leader of the Irish Unionist Party in the House of Commons from 1906 to 1910. Background and education
<mask> was born at Bath, the eldest son of <mask>, by his wife Charlotte Anna, daughter of William Wentworth FitzWilliam Dick (originally Hume). The 1st Baron Gisborough was his younger brother. On his father's side he was descended from an old family of Wiltshire gentry, and on his mother's side from Anglo-Irish gentry in County Wicklow. When young, <mask> lived at Dolforgan Hall, Montgomeryshire, a property owned by his grandfather.Whilst living there, his father inherited the Rood Ashton Estate. <mask> went to Hilperton school, Amesbury, where he was harshly disciplined by Edwin Meyrick. At Harrow, <mask> was popular, proving a sporty captain of cricket. It was during <mask>'s studies at Christ Church, Oxford, that his father had a mental breakdown, and two years later died in February 1875. Upon his father's death, he took over management of the family properties, whilst his mother moved into a house in Oxford. It was a stressful time, during which he was frequently summoned by his mother, and his younger brother also accumulated gathering debts. <mask> continued to box, ride and hunt, as well as play college cricket.Afternoons spent with the Bicester, Heythrops, and South Oxfordshire hunts were matched by the university Drag Hunt. His proficiency was reflected in the early offer to become Master of the Vale of White Horse Hunt, which he turned down. His agent H Medlicott despaired at the danger to the family fortune, urging him to cut his relations loose; but he raised a new £30,000 mortgage on lands, which Medlicott complained he would have to sell. On coming down from Oxford in 1877, he purchased a Coach and Four for £200. After a year in Wiltshire, he married Lady Boyle. <mask> served as an officer in the Royal Wiltshire Yeomanry, being promoted Major in 1890 and becoming Lieutenant-Colonel in command from 1898 to 1906. Political career, 1880–1911
<mask> was determined on a career in politics, campaigning at Marlborough in a traditional Liberal seat in 1879.After Sir George Jenkinson agreed to resign in North Wiltshire, he was adopted by 'half a dozen country gentlemen'. At the 1880 general election, <mask> was elected to parliament as a Conservative for North Wiltshire, a seat he held until 1885. A supporter of Lord Beaconsfield, the British Empire, Church of England and state, he was against extending education, but favoured bible teachings in schools. He won the two-member North Wiltshire seat by more than 2000 votes. At the time Beaconsfield died on 19 April 1881, he was making a record of his days in the Commons: "I rose somewhere about 8.30 and as a new member was duly called". The Liberal government was in trouble over Egypt and the Bradlaugh incident; and the Conservatives were internally divided. He hunted for the Beaufort Hounds.I selected as my time, midnight until, if necessary, eight in the morning. I used to leave London at 5.30 in the morning, providing the House was up, take the train down to Chippenham, have my hunt, and get back to London by train leaving Chippenham about 7.30 … I was at the House at midnight and I would stay there till it rose. He made his first speech on 26 July 1880 during the third reading of the Compensation for Disturbances (Ireland) bill. <mask> won his seat with a reduced majority of 95 votes at the November 1885 general election. There was considerable anger at the Conservatives 'Fair Trade policy' for workers. He believed English people had little understanding of Ireland or the minority in Ireland that Home Rule would not protect, and that Gladstone's Home Rule policy would lead to the dismemberment of the empire. The home rule policy was defeated, <mask> was returned with an increased majority of 1726 votes in July 1886.Aged thirty-two, <mask> was asked to become a junior minister to C. T. Ritchie at the Local Government Board, in Salisbury's government. They had noticed his unswerving support from the backbenches. He was approachable and had a no-nonsense manner, an excellent memory: logical and crisp. He was both mature and responsible for a young MP. The very strong connections he had with the agricultural community assisted local government in his area. He entered government for the first time in 1886 in Lord Salisbury's second administration as Parliamentary Secretary to the Local Government Board, serving under Charles Ritchie, and became one of the architects of the Local Government Act 1888, which established elected county councils. <mask> dealt with Poor Law reform in the county areas, slum reforms, reform of the London County Council, and better housing for the working-classes.He was deputed to make speeches backing the government position on the LCC bill, although he was not responsible for its draft or passage. Ritchie was to deal with the towns in Local Government Act 1888, but was ill for the period, and <mask> had "a sound grasp its details and essentials." On 6 Feb 1887, he made an important speech in the "Plan of Campaign" from which unionism there seemed to encourage landlordism. However behind the law for tenant compensation, <mask> knew lay a deeper demand for independence. He continued to be worried by the Liberals' policy of Home Rule, supporting the Irish Unionists who opposed it. He could not square the retention of Irish MPs at Westminster under the scheme for the second home rule bill. Irish MPs could control English, Scottish, and Welsh affairs, so he argued.The issue was central to the general election of 1892. <mask> had returned from Canada on a tour speaking on the federal system there. He reiterated the claim that Ulster Unionists would never accept the bill. But Liberals argued that the Conservatives would raise bread prices, and lower wages if returned, "the labourers are ignorant lot and swallowed it whole", he decried. <mask> was defeated by 138 votes, losing his seat. In July 1892, Liverpool West Derby became vacant and <mask> defeated the Liberal candidate by 1357 votes at the by-election of 1893. Knowing his grasp of parliamentary procedure, Arthur James Balfour hired him to be a strategist in opposition.The Liberals appointed <mask> to the Royal Commission on Agriculture, meeting at Trowbridge on 18 January 1893. <mask> continued in connections with Ireland throughout his career. He did not wish to sever legislative ties of Union with Ireland; but only to offer "an extension of the privileges of local government to the Irish people". Home Rule was thrown out by the Lords on 8 September 1893, by 419 votes to 41. In June 1895, the Liberals were resoundingly defeated in the Lords, and the following month Salisbury was returned for another ministry. After the Conservative defeat in 1892, Ritchie's retirement made <mask> the chief opposition spokesman on local government, and when the Tories returned to power in 1895, he entered the cabinet as President of the Board of Agriculture. In this role he was notable for his efforts to prevent the spread of rabies.The creation of the Board of Agriculture had brought a boost to <mask>'s career in 1889. But opposition rose up strongly, when the Dog Muzzlers act, prompted the Laymen's League in Liverpool to contest the Church discipline bill. <mask> became increasingly unpopular in his constituency accused of being "irascible and scheming", and was advised to change seats. But this did not prevent in 1895 admittance to the Privy Council. The bourgeois Navy League in Liverpool could not wait to get rid of him but his powerful friends, like the "somnolent" Duke of Devonshire gave large donations to the Anti-Socialist Union - and this would be disastrous to the Union, for it would immediately alienate every snob and mediocrity ..."  Yet <mask> was thick-skinned and seems impervious to the insults, for he remained remarkably successful at the polls. At the 'Khaki election' of November 1900, <mask> won Bristol South. With the ministerial shuffle in 1900, he became President of the Local Government Board.Never an insider, <mask> worked closely with constituents on local issues showing "sensitivity to the wider needs of society". His capacity for hard work revealed that he was also stubborn, short-tempered, with a choleric temperament; a stickler for the letter of the law. He was frequently plagued by ill-health: neuralgia, arthritis, susceptible to colds and flu; a waspish character, he was not charismatic, nor was he analytic or probing, like his mentor Balfour. In this role, he was criticised as too radical for his support of the Unemployed Workmen's Act 1905, which created an unemployment board to give work and training to the unemployed. In 1903, <mask> took a leading role as a spokesman for the protectionist wing of the party, advocating tariff reform and imperial preference alongside Joseph Chamberlain and his son Austen Chamberlain, which brought him into conflict with Charles Ritchie, Michael Hicks-Beach and others on the free-trade wing. <mask> was a moderate within the protectionist ranks and became a go-between for the protectionists and free-traders, increasing his prominence and popularity within the party. Perhaps his most significant achievement on the board was the unification of the London water-supply boards into the Metropolitan Water Board.Chief Secretary for Ireland
<mask> was offered the position of First Lord of the Admiralty in Lord Selborne's place, as the latter was appointed to the Governor-Generalship of South Africa. But he refused the promotion, advising the appointment of Lord Cawdor. Really what <mask> wanted was to remain at Local Government, but when George Wyndham resigned as Chief Secretary for Ireland, Balfour was faced with a crisis. Wyndham resigned on 5 March 1905, over what became known as the "Wyndham-MacDonnell Imbroglio". Sir Antony MacDonnell was a successful Indian civil servant appointed as administrator in Dublin by Wyndham, on the strict understanding that the

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 permanent post made MacDonnell's role a non-political position. MacDonnell was a Catholic from Mayo, whose appointment left unionists wondering if they had been betrayed by London. Nevertheless, having been an experienced and competent implementer of the Land Purchase (Ireland) Act 1903, MacDonnell came to be widely seen as a force for moderation.Wyndham was occupied in London with cabinet duties, and so appreciated the implied need for permanent governance. Balfour had already considered <mask> for the post in January 1905, and to that end  consulted both Edward Carson and John Atkinson under pressure from Horace Plunkett and Gerald Balfour, to continue the policy of moderate reform. Due to his Irish connections (both his wife and his mother were Irish), it was hoped that <mask> might be more acceptable to Irish Unionists than his predecessor. <mask> was reluctant to accept the offer; frustrated and angered by Lord Dunraven's proposals and MacDonnell's initiatives that he regarded as anti-Unionist. In mid-March he was determined to bring Unionism back from the brink of extinction in Ireland. Arriving in Dublin on 15 March, at dinner there he took the pragmatic view to work with MacDonnell. Throughout March and April he saw no grounds for MacDonnell's dismissal.Yet labouring closely with Unionists to discuss agrarian and non-agrarian crime, and discipline in the RIC, he continued to appease Unionist opinion. He appointed Unionists William Moore as Solicitor-General for Ireland, John Atkinson, as Lord of Appeal, while Edward Saunderson, the Ulsterite member of the Orange Order, became a confidant and close friend. Patronage was usually dispensed by the Lord Lieutenant: this sparked a row with Lord Dudley, and a constitutional argument prompted an appeal to the Prime Minister. <mask>'s motto of "patience and firmness" was designed to placate Irish Unionists at public meetings, speeches and tours of Ireland, made to reassure local community officials. On 20 April 1905, he made an important speech at Belfast emphasizing that he was a stickler for order and the rule of law. But in the south and west, obdurate landlords refused land sales to tenantry leading to boycotts and cattle-driving. The damage done to unionist farms and farmers was frightening.MacDonnell continually urged compromise, but <mask> ignored him. The dispute with Lords Dudley and Dunraven dragged on into August 1905, with their attitude of intransigence towards <mask>'s attempts at Unionist reform, and obedience to the law. On 25 May 1905, the issues were discussed in the Commons. He wished to strengthen Unionism; but both Dudley and <mask> appealed to Balfour for adjudication. Balfour opined that the Chief Secretary was both in the Commons and in the cabinet so Dudley had to be content that the power of the Lords was waning. During the last quarter of 1905, <mask> advised the postponement of dissolution, as it would hit Unionists hard in "the Country" and would hand numerous electorates to radicals. He warned of the loss of seats of Bristol West and South.In December 1905, true to his word, he himself was defeated by 2,692 votes. <mask> continued to distrust 'Birmingham & Co' as he called Chamberlain's struggle for a policy of Tariff recognition, which was already driving the party away from the Free Trade north. Nonetheless, he continued to co-operate transnationally with conservative parties in Germany, such as Reichspartei right up until the second Moroccan crisis in 1911. Unionist in opposition
Nonetheless, <mask>'s parliamentary career was far from finished. He was nominated as Unionist candidate for South County Dublin in 1906, winning by 1,343 votes. <mask> became one of the leading opposition voices against the Liberal plans for Home Rule in Ireland. At this stage the Irish Unionist Party's leadership was still in the hands of his friend Edward Saunderson, who was far from energetic, unhelpfully described as "devoid of business capacity".The dispute with MacDonnell was carried on in the pages of The Times - <mask> trying to galvanise Unionist opinion in both England and Ireland. Balfour, Jack Sandars (Balfour's private secretary), and Wyndham all thought he had been duped by Unionism "where his vanity and hopes are concerned", characterising the Chief Secretary as easily manipulated. In October 1906, Saunderson died, and <mask> was chosen as the new Chairman of Irish Unionist Alliance (IUA) - aimed at closer co-operation between northern and southern parties. Three months later, he was also elected as Chairman of the Ulster Unionist Council (UUC). In 1907, he formed the Union Defence League (UDL)  as a support in Great Britain for Irish unionism. The UDL in London linked with the UUC in Belfast and the IUA in Dublin. It had support from Conservative backbenchers but not the leadership.It was active in 1907–1908 and again after 1911 when the Third Home Rule Bill was imminent; with the Primrose League it created the 1914 British Covenant mirroring the 1912 Ulster Covenant. Although <mask> never openly supported the most militant Unionists, who were prepared to fight the Southern nationalists (and perhaps the British Army) to prevent home rule for Ireland, contemporary accounts indicate that he probably had prior knowledge of the Larne gunrunning. In the Commons <mask> was an active opponent of Liberal social legislation. He founded a Budget Protest League to advance the cause of moderate tax changes. In the Lords the defeat of the 'people's budget' led to the constitutional crisis of 1911. He clashed with Edward Carson adopting a similarly equivocal position over the Parliament Bill of 1911, opposing the Bill, but recommending acquiescence. He sat as MP for the Strand between December 1910 and 1918 and St George's between 1918 and 1921.Political career, 1911–1921
When Balfour resigned as party leader in November 1911, <mask>, who had never been happy with his leadership style, was pre-eminent in the Conservative Party and one of the leading candidates to succeed him, the candidate of the 'country party'. As early as 1900, <mask> had denounced Chamberlain, as the "Conservative Party...will not be led by a bloody radical". However, he was opposed by Austen Chamberlain, who was backed by the Liberal Unionists still under his father's leadership. <mask> feared 'the degradation' to the party that a divisive contest might split the protectionist majority of the Unionist coalition, so both candidates agreed to withdraw in favour of Bonar Law, the tertium quid, and a relatively unknown figure, on 12 November. The unification of the Liberal Unionist and Conservative parties at the Carlton Club in 1912, was for <mask> acknowledgement of the end of its domination by the country interest. <mask> was always skeptical of coalition, and declared that it would not happen. So with the formation of the wartime coalition government in May 1915, <mask>'s awaited return to office at the Local Government Board was greeted by his surprise.Asquith resisted attempts by Unionists to install <mask> as Chief Secretary. <mask> dealt with the plight of thousands of Belgian refugees. He was actively involved in undermining attempts by Lloyd George to negotiate a deal between Irish Nationalists and Unionists in July 1916 over introducing the suspended Home Rule Act 1914, publicly clashing with his arch-rival Sir Edward Carson. He was accused of plotting to bring down Carson by jeopardising an agreement with the nationalist leader John Redmond, that any partition would only be temporary. When <mask> wanted to alter the clause to permanent, Redmond abandoned further negotiations. Carson, in a bitter riposte, said of <mask> "The worst of <mask> is that he never knows what he wants, but is always intriguing to get it". Austen Chamberlain, in 1911, was similarly critical of <mask>, saying he was "at the centre of every coterie of grumblers."<mask> and the Unionists wanted General Maxwell to have authority over the police, but Asquith finally gave the Chief Secretaryship to a civilian, Henry Duke. With the fall of Asquith and the accession of the Lloyd George government in December 1916, <mask> had established himself as the cabinet's foremost authority on Irish policy. Chief Secretary Duke would have preferred to be Inspector-General; but Lloyd George, a natural home ruler, did not seem too happy with <mask>'s brand of federated Unionism. Two allies of the Prime Minister, namely Carson and Lord Edward Cecil, supplied the most intransigent opposition to a united Ireland. It was <mask>'s policy on 16 April 1918 to promote the Conscription bill that would provoke the crisis for Irishness. Duke opposed a policy of conscription without an offer of home rule, whereas <mask> wanted the former without the latter. The crisis gave rise to the German Plot, and <mask>'s pressure to act on intelligence against Sinn Féiners caused him to issue a large number of arrest warrants.<mask> was promoted to the Colonial Office, serving until January 1919, when he became First Lord of the Admiralty, a position in which he served until his retirement to the Lords in 1921. From October 1919 on, he was, once again, largely concerned with Irish affairs, serving as the chair of the cabinet's Long Committee on Ireland. In this capacity, he was largely responsible for initiating the Partition of Ireland under the Government of Ireland Act 1920, which followed certain proposals of Lloyd George's failed 1917–18 Irish Convention, and created separate home rule governments for Southern Ireland and Northern Ireland, the former subsequently evolving as the Irish Free State. In March 1921, Bonar Law resigned as party leader due to ill-health. Sir Austen Chamberlain finally succeeded him in the former office after a ten-year wait. But <mask> too, getting tired and old, was 'kicked upstairs' with a peerage. He was appointed Lord-Lieutenant of Wiltshire in February 1920, and was raised to the peerage as <mask>, of Wraxall in the County of Wiltshire, in May 1921.Personal life
Lord <mask> married Lady Dorothy (Doreen) Blanche, daughter of the 9th Earl of Cork and Orrery, in 1878. They had two sons, including Brigadier General <mask>, who was killed in action in 1917, and three daughters. He died at his home, Rood Ashton House in Wiltshire, in September 1924, aged 70, and was succeeded by his 13-year-old grandson <mask>. Lady <mask> died in June

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<mask> (); born 18 September 1936 in Tehran) is an Iranian and German journalist and author. Life
<mask> was born on 18 September 1936 to a wealthy family of civil servants in Tehran, Iran. His uncle was a consul in the Iranian embassy in Berlin before World War II. When he was 14 years old, <mask> was sent to Germany to go to gymnasium, and attended Rudolf Steiner School. After his primary and secondary schooling, he studied German, philosophy and Persian at the Universities of Munich, Tübingen, and Berlin. He became a docent ın 1960 at the University of Tübingen with the subject "Problems of transplanting European dramas to Neo-Persian literature". After finishing his studies, he returned to Iran and worked there as a docent for comparative literature at the University of Tehran, and as a writer and journalist.Together with Mehdi Khanbaba Tehrani and Majid Zarbakhsh, he founded the Goruhe Kadreh (Kader Group), which understood itself as a Marxist-Leninist organisation and wanted to organize revolutionary cells for the anti-imperialist war in urban areas of Iran by acting as urban guerillas. In 1965, he returned to Germany to escape a purported imminent arrest. His book, Iran, The New Imperialism in Action, was published in January 1967 and had a large influence upon the internationalism of the May 1968 student uprising.<ref group=note>On the influence of <mask>'s work on the West German New Left, see Quinn Slobodian, Foreign Front: Third World Politics in Sixties West Germany  Duke University Press, chapter 5</ref> <mask> became a member of the Confederation of Iranian students. Freimut Duve invited him on a lecture tour for his book in Hamburg and he became acquainted with Ulrike Meinhof. They talked about the circumstances in Iran, whereupon in June 1967, for the official visit of Shah Mohammad Reza Pahlavi to West Germany, Meinhof alleged in an open letter to the Shah's wife, Farah Diba, that, among other things, for the peasants of Mehdiabad, a "Persian meal" consists of straw put in water. In October 1967, Der Spiegel published a critical review of <mask>'s book, alleging that much of the information it contained was dubious or wrong. In 1979, <mask> returned to Iran before the Islamic Republic of Iran was founded.After staying there for three years, <mask> went into exile in Paris, as he had not received permission to re-enter Germany. He later relocated to Berlin. <mask> advocates for freedom in Iran. He holds that the forces around Ahmadinejad are sustained through terror and threats from the West, including the threats of sanctions and war. He believes that such actions serve to bolster the regime and that popular support for the regime is much weaker than is assumed in the West. He contends that artists, women, and the youth are not radicals and desire freedom. <mask> argues that the image of Iran in the West has been reduced to that of only the Islamic regime itself.<mask> is the author of several books and articles, including:
"Die Zeit"
"Der Spiegel"
"Die Tageszeitung"
"Frankfurter Rundschau"

In addition to that, he authored numerous contributions that have been broadcast. He published, among others:
"Mit Gott für die Macht" ("With God for power"), a Khomeini-biography
"Feuer unterm Pfauenthron. Verbotene Geschichten aus dem persischen Widerstand" ("Fire under the Peacock's Throne: Forbidden stories from the Persian opposition")
"Iran - hinter den Gittern verdorren Blumen" ("Iran - behind the bars wither flowers")
"Sturm im Golf: Die Irak-Krise und das Pulverfass Nahost''" ("Storm in the Gulf: The Iraq crisis and the Powder Keg Middle East"

In addition, he has translated literature from Persian into German, among others:
Sadegh Hedayat
Gholamhossein Saedi
Samad Behrangi
He translated "The trip" of Mahmud Doulatabadi for the Unionsverlag. Since 2001, he is the composer of the monthly "Iran Reports" of the Heinrich Böll Foundation. <mask> <mask> is the father of the journalist Mariam Lau, who is currently working as the political correspondent of the weekly journal Die Zeit. Works

As an author
 “Problems of transplanting European dramas to the Neopersian literature” (“Probleme der Verpflanzung des europäischen Dramas in die neupersische Literatur”). University of Tübingen.Dissertation, 1960. “Persia, a model of a developing nation or the dictatorship of the Free World” (“Persien, Modell eines Entwicklungslandes oder Die Diktatur der Freien Welt”), Rowohlt, Reinbek 1967
 “Iran. The New Imperialism in Action”, Monthly Review Press, New York 1969
	“With God for power. A political biography of Ayatollah Khomeiny” (“Mit Gott für die Macht. Eine politische Biografie des Ayatollah Chomeini.“), Rowohlt, Reinbek 1987,  (mit Keywan Daddjou)
	“Fire under the peacock throne. Forbidden stories from the Persisan opposition” (“Feuer unterm Pfauenthron. Verbotene Geschichten aus dem persischen Widerstand“, Rotbuch Verlag, Hamburg 1985,
	“Iran - behind the bars wither flowers“ (“Iran - hinter den Gittern verdorren Blumen“), Rowohlt, Reinbek 1985  (Übersetzung ins Türkische durch Kemal Kurt: “Iran – Soluyor Çiçekler Parmaklıklar Ardında“, mit Belge Yayınlar, Istanbul 1988)
	Living with Germans" (“Leben mit den Deutschen“), Rowohlt, Reinbek 1989,
	“Storm in the Golf: The Iraq crisis and the powder keg Middle East“ ("Sturm im Golf: Die Irak-Krise and das Pulverfass Nah-Ost“), Rowohlt, Reinbek 1990,
	“A stranger for Germans“ (“Fremd bei den Deutschen“), 1991,
	“The Kurdish tragedy.The Kurds - Chased in their own land” (“Die kurdische Tragödie. Die Kurden - verfolgt im eigenen Land“), Rowohlt, Reinbek 1991,
	“Scared of Germans. Terror against foreigners and the disintegration of the state of law” (“Angst vor den Deutschen. Terror gegen Ausländer und der Zerfall des Rechtsstaates“), Rowohlt, Reinbek 1992,
	“iran-report“, Heinrich Böll endowment, Berlin, seit 2001 (erscheint monatlich; siehe Weblinks)
 "Iran. The imminent catastrophe" ("Iran. Die drohende Katastrophe"), Kiepenheuer & Witsch, Köln 2006,
 "The undeclared World War" ("Der unerklärte Weltkrieg"), booklet, 2007,
 "Iran Israel War: The spark to a bush fire" (“Iran Israel Krieg: Der Funke zum Flächenbrand“), Verlag Klaus Wagenbach, 2012,

As a publisher
	“In the name of Allah. Islamic groups and the fundamentalism ın the Federal Republic of Germany” (“Im Namen Allahs.Islamische Gruppen und der Fundamentalismus in der Bundesrepublik Deutschland“), 1990,
	“In the name of Allah“ (“Im Namen Allahs“), Dreisam Verlag, Köln 1990,
	“German conditions. Dialog over a endangered country“ (“Deutsche Zustände. Dialog über ein gefährdetes Land“, Rowohlt, Reinbek 1993,
	“Iran after the polls“ (“Iran nach den Wahlen“), Westfälisches Dampfboot, Münster 2001,

As a translator (a choice of)
	 Sadegh Hedayat: “The blind owl“ (“Die blinde Eule - Ein Roman and neun Erzählungen“), Eichborn, Frankfurt 1990
	Mahmud Doulatabadi: “The journey“ (“Die Reise“), Unionsverlag, Zürich 1992,
	Mahmud Doulatabadi: “The old World“ (“Die alte Erde“), Unionsverlag Zürich 2005,
	Mahmud Doulatabadi: “The colonel” (“Der Colonel”), Unionsverlag Zürich 2009,

Notes

References

External links

	Gewalt auf dem Campus - Das Persienbild des Bahman Nirumand, Der Spiegel 44/1967, 23. Oktober 1967, S. 132]
	Welcher Perser isst schon Schwein? Dr. <mask> Nirumand zur Spiegeltitelgeschichte über Persien, Der Spiegel 47/1967, 13. November 1967, S. 164]
 Der Iran und die Heinrich-Böll-Stiftung - Kritik an Reformbewegung unerwünscht (Juni 2000)
 iran-report - monatliche Berichte über die Lage im Iran (seit 2001)
 “Revolutionäre Romantik“ - umfassendes Interview mit Bahman Nirumand über sein Leben and den Iran
 Interview mit Bahman Nirumand im Deutschlandfunk (Juni 2007)
 Die Kriegsgefahr wächst: Das Szenario erinnert an den Irak-Krieg

Iranian writers
Iranian journalists
1936 births
May 1968 events in France
Living people
National Council of Resistance of Iran members

masks:
Bahman Nirumand
Bahman Nirumand
Nirumand
Nirumand
Nirumand
Nirumand
Nirumand
Nirumand
Nirumand
Nirumand
Nirumand
Bahman
Nirumand
Bahman


texts:
<mask>    (born October 11, 1929) is a Canadian architect. In 1970, <mask> co-founded a private practice in Toronto with Ted Teshima called Moriyama & Teshima Architects which is renowned for designing many major buildings across the world, including the Canadian War Museum and the Canadian Embassy in Tokyo. His focus is on humane architecture with the pursuit of true ideals, democracy, and unanimity of all people. Early life and education
Born in Vancouver, British Columbia, <mask> suffered burns as a four-year-old and was sometimes teased about his scars. During the eight months he spent bedridden after the accident, he saw an architect coming and going from a nearby construction site, "with a blueprint under his arm and a pipe in his mouth." <mask> decided then and there that he would become an architect too. <mask>'s father was an outspoken pacifist who was arrested and made a Prisoner of War for his activism.Moriyama was then twelve; his pregnant mother was left with him and his two sisters to run the family hardware store. Shortly after, he and his family were forced out of Vancouver and confined to an internment camp in the Slocan Valley of British Columbia during the Second World War. Japanese Canadians on the West Coast were classified as security threats, in a policy similar to that of the United States. He said these years were influential in his later career. <mask> has described his experiences in internment camps as miserable. During this time, his mother experienced a miscarriage, in which Moriyama then grieved the loss of a potential younger brother. He looked for a place for escape and solitude, and decided to build a treehouse outside of camp, as a lookout point.He made friends with Canadian farmers who supplied him with lumber and tools to build. He describes his experience of finding escape as such:"In despair, I decided to bathe in the Slocan River on the other side of a little mountain away from the camp. The water was glacial, but it was better than hot tears. To see who might be coming, I built an observation platform. Soon I found myself wanting to build my first architectural project, a tree house, without being found out by the RCMP. I used just an axe as a hammer, an old borrowed saw, six spikes, some nails, a rope, and mostly branches and scraps from the lumberyard. It was hard work building it by myself, and it was a lesson in economy of material and meansThat tree house, when finished, was beautiful.It was my university, my place of solace, a place to think and learn." After the war, his family reunited with his father and they resettled in Hamilton, Ontario, where he attended Westdale Secondary School and worked in a pottery factory. Ambidextrous, he was able to finish his piecework quickly, and his bosses allowed him to use his extra time to study for school. During his years in University, he ran into his childhood friend Sachi from Vancouver. When they began to date, he knew immediately that she was the one he was going to marry. He told her this many times, but she just laughed. She never believed him.They married in 1954. Together, they had five children, including two sons who also become architects, Ajon and <mask>. <mask> received a Bachelor of Architecture degree from the University of Toronto in 1954, and a Master of Architecture degree in civic and town planning from the School of Architecture at McGill University in 1957. His sons, Ajon and Jason, became principals at Moriyama + Teshima Architects after <mask> retired in 2003. In 2013, Ajon <mask> founded Ajon Moriyama Architect, doing independent work in Toronto. <mask>'s first large project as an independent architect was the Ontario Science Centre in Toronto, built in 1964. After years of working independently as an architect, <mask> established his Toronto-based firm in 1958 and in 1970 was joined by Ted Teshima and is now Moriyama & Teshima Architects.Some of their notable early projects include the Scarborough Civic Centre from 1973, and the Metropolitan Toronto Reference Library from 1977. Both of these projects won Governor General's Medals. <mask> has been heavily involved in bringing a Japanese cultural influence to Western society. He is a part of the Japanese Order of the Rising Sun, as well as the Order of Ontario. Many of <mask>'s architectural awards recognize his excellency in materiality, landscape, and urban design. Some of his core values as an architect involve the principles of designing for human scale and human functionality. Ted Teshima retired in 2006, and died in 2016.In 1985, <mask> was made an Officer of the Order of Canada and promoted to Companion in 2008. He was also inducted into the Order of Ontario in 1992. In 1997, he received the RAIC Gold Medal, Canadian Architecture's highest honour. In 1999, he was the key architect for designing of the National Museum of Saudi Arabia in Riyadh. From 2001 to 2007, he served as the Chancellor of Brock University in St Catharines, Ontario. He has designed several buildings at Brock University from the 1970s onwards. In 2004, he was made a member of the Order of the Rising Sun, a Japanese award given in recognition for his services to Japanese culture in Canada.In 2007, he was honoured with a postage stamp by Canada Post featuring his design for the Ontario Science Centre. In 2009, he was one of nine laureates to receive a Governor General's Award in Visual and Media Arts. In 2010, he won the Sakura Award, for his impact and dedication in the promotion of Japanese culture worldwide. In 2012, he received a Queen Elizabeth II Golden Jubilee Medal. He also created a $200,000 endowment with the Royal Architectural Institute of Canada called the Moriyama RAIC International Prize. In June 2013, he received an honorary doctorate from the University of Calgary. <mask> retired in 2003.

Notable projects

Ontario Science Centre

This was <mask>'s first large-scale project as an independent architect.It was built in 1969. <mask> incorporated Confuciuan philosophies into his design, building on the ideas of tactile and experiential learning. The Science Centre functions as a place for visitors to experiment hands-on with installations. The glass facade of the front entrance has a large, exposed steel cable structure. This gesture immediately involves visitors to experience the engineering and science behind architecture, an example of experiential learning in itself. The interior lends itself to flexibility, with large open spaces fit for various installations, exhibits, and large crowds. Canadian embassy in Tokyo
<mask> designed this building during his time with <mask> + Teshima.It was built in 1991. The prominent concept of this building is the "tree house", gaining inspiration from his childhood years spent in Japanese internment camps. He replicated the feeling of youthfulness and magic of the treehouse he first built while in camp. His intention was to enable a place of social connection and welcoming for all those visiting the Embassy. The form resembles that of a temple. On the lower half, a large solid mass of concrete includes deep set windows, and above it, an asymmetrical glass peaked roof creates a light, sculptural contrast. Adjacent to the building is the Akasaka Imperial Grounds and the Takahashi Memorial Park.The building was limited in the shadows it was allowed to cast over the park, a restriction that led to its final shape. Bata Shoe Museum

Moriyama + Teshima designed the Bata Shoe Museum, built in 1995. It is recognizable by its angled trapezoidal limestone walls, and pyramid-like glazing on the front face. The interior reflects the angularity of the outside, with large open spaces for exhibitions with tilted walls. The interior is mostly wood, with "floating" display boxes with hidden supports, similar to the grand wooden staircase in the centre of the room. This project won the City of Toronto Urban Design Award of Excellence in 1997. Other projects

Toronto French School additions (2015)
Canadian War Museum (2005)
National Museum of Saudi Arabia in Riyadh (1999)
Seneca College's Seneca@York campus Stephen E. Quinlan Building in Toronto (1999)
 John Labatt Visual Arts Centre, The University of Western Ontario, London, Ontario (1993)
Ottawa City Hall (1990)
North York Central Library (1987)
Museum London in London, Ontario (1980)
Peterborough Public Library, Peterborough, Ontario (1980)
Toronto Reference Library (1977)
Albert Campbell Collegiate Institute (1976)
Scarborough Civic Centre (1973)
L'Amoreaux Collegiate Institute (1971)
 Health Services Building, University of Waterloo (1968)
 Harvest Bible Chapel, Markham (1967)
Civic Garden Centre (now Toronto Botanical Garden), Toronto (1965)
 Gordie Howe International Bridge (planned - not built)

Gallery

References

External links

 Moriyama & Teshima Architects
 <mask>ma fonds
 Moriyama and Teshima Architects fonds, Archives of Ontario
 Architectural Dialogues... / Dialogues architecturaux... Moriyama & Teshima, 2010, Archives of Ontario YouTube channel

1929 births
Living people
Canadian architects
Modernist architects
Canadian university and college chancellors
Companions of the Order of Canada
Japanese-Canadian internees
McGill School of Architecture alumni
Members of the Order of Ontario
People from Vancouver
University of Toronto alumni
Governor General's Award in Visual and Media Arts winners

masks:
Raymond Moriyama
Moriyama
Raymond Moriyama
Moriyama
Moriyama
Moriyama
Jason Moriyama
Moriyama
Raymond Moriyama
Moriyama
Career Moriyama
Moriyama
Moriyama
Moriyama
Raymond Moriyama
Moriyama
Moriyama
Moriyama
Moriyama
Moriyama
Raymond Moriya


texts:
<mask> (born 9 February 1986) is a double leg amputee LW3 classified Paralympic alpine skier from Australia. <mask> lost both legs after contracting meningococcal disease when he was sixteen years old. This experiences led him to study medicine, and he attended Griffith University and the University of Sydney where Mayberry pursued health science courses. Beyond the classroom, he has written a paper on meningococcal disease, worked part-time on research about the disease, and talked about his experiences at a conference. Having started out as an able-bodied skier, <mask> took up the disability sport. He made his national team debut in 2005, and went on to represent Australia at the 2006 Winter Paralympics the following year, when he did not medal. With the aid of a prosthesis, adjustments were made to his skiing legs, and he competed in several skiing competitions during 2007, 2008 and 2009.He was selected for the Australian 2010 Winter Paralympics team at a ceremony in Canberra in November 2009. Between then and the start of the Games, he participated in a few more competitions, including one where he picked up a gold medal, and participated in a national team training camp. He was selected as Australia's flag bearer for the opening ceremony. In competition, he earned a silver medal in the men's downhill standing event, finished 24th in the Super-G, was disqualified from the slalom, and failed to finish in the giant slalom. Following the games, he retired from skiing. <mask> was born on 9 February 1986, and grew up in Byron Bay, New South Wales,
where he attended Byron Bay High School. By 2009, he resided in Queensland, and was living in Yeerongpilly, Queensland by 2010.In June 2010, he married a woman he met at a music festival. Following a high school ski trip when he was in year 11, <mask> contracted meningococcal disease at the age of 16, and this resulted in double below the knee amputations. He was in a coma for two weeks as a result of the disease, and, when he woke up at Byron Bay Hospital, learned his legs had been amputated. One of the things that motivated him to keep going during rehabilitation was the opportunity for sports. <mask> studied health sciences at Griffith University, and medicine at the University of Sydney. He went into medicine partly because of his illness during high school. He relocated to Sydney with his fiancé to do so not long before the start of the 2009—2010 ski season.In August 2010, he was the opening speaker at the Amanda Young Foundation Meningococcal Conference, and in 2010 and 2011, worked part-time at the Kids Research Institute at the Children's Hospital at Westmead, where he was in contact with "Robert Booy in his research on the psycho-social impact of meningococcal B on families." He wrote up his experiences in dealing with meningococcal infection in the Journal of Paediatrics and Child Health. He lives by Gandhi's quote "Be the change you want to see in the world". Skiing
Mayberry is an LW3 classified skier who competes in standing events using a pair of artificial legs. Prior to contracting meningococcal, he was involved with skiing. He was back to competing at it on the disability side by 2004. When fully kitted out, he looks like an able-bodied skier, and is capable of skiing faster than .He received support for his skiing from the Australian Institute of Sport, New South Wales Institute of Sport and the Australian Government Sports Training Grants program. <mask> has won medals at IPC Alpine Skiing World Cup events and the Paralympic Games. He made his Australian national team debut in 2005 at the European Cup Finals, and went on to represent Australia the following year at the 2006 Torino Games where he failed to medal in the four men's standing events he competed in. He finished 33rd in the downhill, 21st in the Giant Slalom, 19th in the Slalom and did not finish in the Super G. <mask> attributed his poor performance at the 2006 Games to his prosthetic legs, which "just didn't feel right during the speed events in Italy." Following those Games, he worked with prosthetist Peter Farrand to develop new legs that would address the problems in Italy. Continuing to ski following the 2006 Games, he earned a gold medal at a World Cup event in 2007 in Slalom, and earned a bronze medal in slalom event at a 2008 World Cup competition. During Australia's 2009—2010 summer, <mask> was based in Europe and North America for training.At the 2009 World Championships, he had a pair of sixth places finished in the Super G and downhill events. That year, at a Spanish hosted IPC World Cup, he crashed in the giant slalom event and did not score a time. He was officially named to the Australian 2010 Winter Paralympics team in November 2009. A ceremony was held in Canberra with Australian Paralympic Committee president Greg Hartung and Minister for Sport Kate Ellis making the announcement. <mask> was selected to the largest Winter Paralympics team that Australia had ever sent to the Games. In 2010, he was the only elite skier with his type of disability in his classification. At the second to last World Cup event before the 2010 Games, on a course in Vancouver, Canada, he won a silver medal in the downhill with a time of 1:16.02.In Aspen, Colorado, at the last World Cup event before the 2010 Games, he won a gold medal in the downhill event. Prior to the start of the Games, he participated in a national team training camp in Vail, Colorado before the Aspen hosted World Cup. He and the rest of Australia's para-alpine team arrived in the Paralympic village on 9 March 2010. As a 24-year-old, <mask> competed in five events in the 2010 Paralympic games: downhill, super G, super combined, giant slalom, and slalom. His parents were in Vancouver to watch him compete. <mask> won a silver medal in the men's standing downhill event where he tied with another skier, and had a combined time of 1:22.78 He finished 24th in the Super-G, was disqualified from the slalom event after missing a gate, and did not finish in the Giant Slalom. Following the Games, he returned with the team to Sydney, where he attended a press conference at Sydney International Airport.He won an Australian Institute of Sport Sport Achievement Award in 2010. By September 2010, he had retired from elite skiing, one of several 2010 Winter Paralympic skiers to retire following the games. Others who retired at the same time he did included Shannon Dallas and Bart Bunting. References

Paralympic alpine skiers of Australia
Alpine skiers at the 2010 Winter Paralympics
Paralympic silver medalists for Australia
Alpine skiers at the 2006 Winter Paralympics
Living people
Australian Institute of Sport Paralympic skiers
Amputee category Paralympic competitors
1986 births
Medalists at the 2010 Winter Paralympics
Australian male alpine skiers
Paralympic medalists in alpine skiing

masks:
Marty Mayberry
Mayberry
Mayberry
Personal Mayberry
Mayberry
Mayberry
Mayberry
Mayberry
Mayberry
Mayberry
Mayberry
Mayberry


texts:
<mask> (1576–1632) was an English antiquary and poet. He is best known for his Epigrammes in the Oldest Cut, and Newest Fashion (1599), containing epigrams on Shakespeare, Ben Jonson, and other poets of his day, and for his Ancient Funerall Monuments, the first full-length book to be dedicated to the topic of English church monuments and epitaphs, which was published in 1631, the year before his death. <mask> was a native of Preston, Lancashire. Little is known of his early life, and his parentage is not certain. He may be the son of the <mask> who in 1590 was one of thirteen followers of local landowner Thomas Langton put on trial for murder after a riot which took place at Lea Hall, Lancashire. He was educated at Queens' College, Cambridge, where he was admitted as a sizar on 30 April 1594. <mask>'s first tutor at Cambridge was William Covell, himself a native of Lancashire and author of Polimanteia (1595) which contains one of the first printed notices of Shakespeare.Another of Weever's tutors was Robert Pearson, whom in later life he mentions with gratitude as a "reverend, learned divine". It is possible that Weever considered a career in the church himself but after receiving his degree on 16 April 1598 he appears to have left Cambridge and travelled to London, where he immersed himself in the literary scene. He was in York in 1603 and later apparently in Lancashire. However, he eventually settled in London and married, buying a house in the parish of St. James, Clerkenwell. Works
In late 1599 Weever published Epigrammes in the Oldest Cut, and Newest Fashion, containing epigrams on Shakespeare, Samuel Daniel, Michael Drayton, Ben Jonson, Edmund Spenser, William Warner and Christopher Middleton, all of which are valuable to the literary historian. The epigram on Shakespeare is particularly interesting since it follows the typical Shakespearean sonnet form: this may indicate Weever had seen actual examples of Shakespeare's sonnets, which at that date circulated only in manuscript. Many other epigrams however relate to persons Weever knew at Cambridge and presumably were composed while he was still a student there.The book also has commendatory verses by some of Weever's Cambridge friends. In 1600 he published Faunus and Melliflora, which begins as an erotic poem in the style of Shakespeare's Venus and Adonis and after a thousand lines in this vein abruptly veers toward satire, with a description of the mythological origins of the form and translations of satires by classical authors. It concludes with references to contemporary satirists Joseph Hall and <mask>, and also to the Bishops' Ban of 1599, which ordered the calling in and destruction of satirical works by Thomas Nashe and others. In 1601 an anonymous pamphlet called The Whippinge of the Satyre was published, which attacks three figures referred to as the Epigrammatist, the Satirist and the Humorist. These three are taken to refer to the contemporary writers Everard Guilpin, author of Skialetheia. or, A shadowe of Truth (1598), his kinsman <mask>, and Ben Jonson. It has been convincingly argued that Weever was the author of this pamphlet, and that as a result he was attacked in his turn and lampooned onstage as the character Asinius Bubo in Thomas Dekker's Satiromastix, as Simplicius Faber in Marston's What You Will and as Shift in Jonson's Every Man Out of His Humour.All these three characters are represented as being very small in stature and great lovers of tobacco, two characteristics which Weever himself admits to in his later works. In 1601 Weever also published two more serious works of a religious tone, The Mirror of Martyrs and An Agnus Dei. The Mirror of Martyrs or The Life and Death of ... Sir <mask> may have been part of a backlash. In his preface Weever calls it the "first trew Oldcastle", perhaps on account of the fact that Shakespeare's character Falstaff first appeared as "Sir <mask>". Weever's work is influenced by <mask>'s 1544 biography of Oldcastle, which presents him as a proto-Protestant martyr. In the fourth stanza of this long poem, in which Sir <mask> is his own panegyrist, occurs a reminiscence of Shakespeare's Julius Caesar which serves to fix the date of the play. Weever's other work of this year, An Agnus Dei, is the life of Christ told in verse form.It has little literary merit but went through several editions, perhaps because it was produced as a tiny book less than two inches square. The Mirror of Martyrs was reprinted in 1872 for the Roxburghe Club. Ancient Funerall Monuments
As early as his first publication in 1599 Weever had demonstrated an interest in tomb monuments. Developing this, he spent the first three decades of the seventeenth century collecting monumental inscriptions. He travelled throughout England and to parts of Scotland, France, the Low Countries and Italy. Back in England he made friends among the chief antiquaries of his time, including Sir Robert Cotton and the herald Augustine Vincent. The result of his endeavours appeared as Ancient Funerall Monuments, a folio volume published in 1631.The work included a lengthy introductory global overview of his subject, the "Discourse of Funerall Monuments"; and this was followed by a survey of over a thousand inscriptions in the four south-eastern dioceses of England: Canterbury, Rochester, London and Norwich. The book is particularly valuable on account of the subsequent loss of many of these inscriptions. However, Weever viewed the inscriptions primarily as literary survivals, and (unlike some of his contemporaries) took little interest in the genealogical evidence they provided, or in the heraldic elements of many monuments: Graham Parry comments, "[i]t is fair to say that he ignored half the value of a memorial." Nor was he concerned with their sculptural or architectural features, and he made no drawings on his travels. The published volume contains just eighteen illustrative woodcuts, all of which appear to have been added only at the production stage, and to have been based on drawings supplied by antiquarian friends. The Society of Antiquaries holds two notebooks in Weever's own hand (MSS 127 and 128) which contain a partial early draft of Ancient Funerall Monuments, as well as other material not included in the published volume. Death and commemoration
Weever died between mid-February and late March 1632, and was buried at St James, Clerkenwell.He was commemorated by a marble tablet framed with a black border, and inscribed with a lengthy encomium in verse (afterwards published in the 1633 edition of <mask>'s Survey of London). The monument was lost when the church was demolished for rebuilding in 1788, despite some ineffectual efforts by the Society of Antiquaries to preserve it. The engraved frontispiece to Ancient Funerall Monuments includes a portrait of Weever, giving his age as 55; and also the following self-penned doggerel summary of his life:
Lanchashire gave him breath,
And Cambridge education. His studies are of Death. Of Heaven his meditation. Personal life
Weever's wife's first name was Anne, but it is unclear from the surviving records whether she was Anne Edwards, who married a man named <mask> in St James Church, Clerkenwell, in 1614; Anne Panting, who married a <mask> in the same church in 1617; or neither of these. She may have been the Anne Weaver of Clerkenwell who drew up her will in 1647, and whose maiden name may have been Onion.References

Further reading

External links
 Epigrammes in the Oldest Cut and Newest Fashion, ed. by R. B. McKerrow at Internet Archive
 Ancient Fvnerall Monvments within the Vnited Monarchie of Great Britaine, Ireland, and the Islands Adiacent (1631) at Google Books. Antient Funeral Monuments, of Great-Britain, Ireland, and the Islands Adjacent (1767) at Google Books. Antient Funeral Monuments, of Great-Britain, Ireland, and the Islands Adjacent (1767) at archive.org

1576 births
1632 deaths
People from Preston, Lancashire
17th-century English poets
17th-century English male writers
16th-century English poets
16th-century antiquarians
17th-century antiquarians
English antiquarians
Alumni of Queens' College, Cambridge
English male poets

masks:
John Weever
Life Weever
John Weever
Weever
John Marston
John Marston
John Oldcastle
John Oldcastle
John Bale
John
John Stow
John Weaver
John Weaver