El don de Alba fue una serie de televisión producida por Disney Media Distribution para su emisión en España en el canal Telecinco que duró del 9 de abril de 2013 al 16 de julio del mismo año. La ficción estaba protagonizada, entre otros, por Patricia Montero y Martiño Rivas, que adaptaron la serie norteamericana Entre fantasmas, creado por John Gray y producida por Sander/Moses Productions conjuntamente con ABC Studios y CBS Paramount Television; consecuentemente, los personajes originales fueron modificados y sus perfiles reescritos para la audiencia española.

Historia
El miércoles 30 de noviembre de 2011, durante la gala anual de presentación de Mediaset España, el grupo presentó la serie en el Palacio de Congresos de Madrid a sus anunciantes y confirmó que estaría protagonizada por la actriz Patricia Montero. En la ceremonia, también pudo verse el episodio piloto de la ficción donde Alba se presenta como una chica normal y corriente que tiene un don: ver a los muertos.

Dos semanas más tarde, el 14 de diciembre, el portal de información Vanitatis informó que el actor Martiño Rivas habría fichado para la serie de Telecinco y daría vida a Pablo Escudero, un escéptico médico recién licenciado que comienza a trabajar en Urgencias de la localidad en la que vive Alba. De esta manera, Pablo y Alba mantendrán una relación especial y se harán marido y mujer en la serie. El día después se anunció el fichaje de Antonio Hortelano que dará vida al personaje de Gabriel Vega, un perfecto aliado en el desarrollo del mundo de la información.

El 3 de febrero de 2012, la cadena Telecinco y la productora Disney iniciaron el rodaje de "El don de Alba", la serie basada en la ficción americana Entre fantasmas, que protagoniza la actriz Patricia Montero con el papel de Melinda Gordon. Tras la confirmación del rodaje, también se hablaron de los nuevos fichajes de la serie. Entre los protagonistas, también se sumaron al reparto Ismael Martínez, Carmela Poch, Itsaso Arana, Teresa Lozano, Sonia Almarcha, Carmen Sánchez, Ramiro Blas, Marta Aledo, Christophe Miravall, Victoria Giménez-Guervós y Ángela Fabián.

El 11 de mayo, Juan Pablo Di Pace (actor y modelo argentino) anunció a través de su cuenta personal Twitter que se incorporaría al rodaje de la serie en la próxima semana. Por otro lado, semanas después, se anunció la participación episódica de la actriz Diana Palazón que desempeñará el papel de Esther, una prima carnal de Andrea que está a punto de casarse.

Después de estar un año sin saberse nada sobre la serie y permanecer en la recámara, a finales del mes de marzo de 2013 el grupo de comunicación, Mediaset España, confirmó a los medios de televisión de que «El don de Alba» sería estrenado en la primera emisora del canal de Fuencarral el 9 de abril del mismo año, con emisión en las noches del prime time de los martes.

El martes 25 de junio de 2013, la compañía Disney sacó a la venta el libro de El don de Alba donde se encontraban todas las claves de la primera temporada de la serie.

Finalmente Telecinco comunicó la cancelación de la serie por una segunda temporada debido a las bajas audiencias. Así la serie se despidió de los espectadores con su último capítulo emitido el 16 de julio de 2013.

Argumento
Tras la muerte de su abuela, Alba Rivas tendrá como misión ayudar a los muertos que, por algún tipo de razón, no han podido cruzar "al otro lado" y tendrá que ayudar a estas almas a completar su camino. Sus más allegados se verán afectados por esta "misión", incluso llegando al punto de poner en peligro sus vidas por ayudar a los espíritus.

La joven tendrá que enfrentarse a las dificultades que implica tener ese don y, al mismo tiempo, ocuparse de otros aspectos de su vida, como sacar su negocio adelante, entablar nuevas amistades y vivir una historia de amor. Alba mantendrá una relación especial con Pablo Escudero, un escéptico médico recién licenciado que tras casi una década de estudios, ha comenzado a trabajar en el servicio de Urgencias de la localidad. Allí se encontrará con Gabriel Vega, un perfecto aliado en el desarrollo de sus misiones por su pasión por el mundo sobrenatural y su habilidad para obtener datos e informaciones.

Reparto

Personajes
 Alba Rivas está interpretada por Patricia Montero: Es una joven mujer de 23 años que acaba de trasladarse a Bellavista para regentar una tienda de antigüedades junto a su amiga Andrea. Tiene un carácter extrovertido y la gusta congeniarse con la gente. Desde que era una niña asume tener un don especial: poder ver y sentir la presencia de almas. Además, durante su estancia en la ciudad, obstaculizará su relación sentimental con Pablo, un joven médico de urgencias.
 Pablo Escudero está interpretado por Martiño Rivas: Recién licenciado en medicina a sus 27 años de edad. Tras años de estudios, especializaciones y prácticas, Pablo comienza a trabajar en el servicio de urgencias de Bellavista.  Previamente, habría declinado una oferta de su padre para la incorporación en una clínica que regenta su familia. Es un joven atractivo, solidario y simpático y dispone de una enorme capacidad para conquistar a las chicas, donde iniciará una especial relación con Alba.
 Gabriel Vega está interpretado por Antonio Hortelano: Hombre de 30 años, cínico y con un peculiar sentido del humor. Desempeña su trabajo como responsable del departamento de archivo de la Casa de la Cultura donde pasa información a Alba del pasado de las almas que tiene que guiar. Despierta gran interés por el mundo sobrenatural y cuenta con una lista de extravagantes aficiones. Padece una enfermedad degenerativa incurable que le obliga a usar un bastón.
 Andrea Santos está interpretada por Itsaso Arana: es la mejor amiga de Alba. A sus 28 años, esta joven proviene de una familia adinerada de Bellavista donde regenta junto a su compañera de universidad una tienda de antigüedades. Conoce a Alba desde que ambas coincidieron en el primer curso de Historia del Arte. Desde entonces, su amistad se ha consolidado y comporten casa juntas.
 Ramón Ramos está interpretado por Ismael Martínez: Viudo y padre de una niña, Alicia. Trabaja en la localidad de Bellavista como jefe técnico en una planta de reciclaje de basuras. Quiere que su hija sea normal y feliz, pero vive preocupado por unos extraños sueños y unos dolores de cabeza que padece la pequeña.
 Alicia Ramos está interpretada por Carmen Sánchez: Es la hija de 12 años de Ramón. Fue salvada por Alba en un incendio, desde entonces ve cosas raras y a un hombre en el espejo. Su padre se preocupa mucho por ella y la lleva a psicólogos, pero solo Alba puede ayudar a Alicia.
 Nuria Guerrero está interpretada por Carmela Poch: Tiene 31 años y es la compañera de Pablo en el hospital está enamorada de él y siente celos de Alba. Pero después conoce a Gabriel y entre ellos dos surge chispas y una relación de amor-odio, hasta que Nuria descubra lo que verdaderamente oculta Gabriel.
 El hombre sin rostro está interpretado por Ramiro Blas: Es el hombre que ve Alicia en el espejo corresponde al otro lado rival de Alba e intentará quitarle las almas para que en vez de ir a la luz cómo Alba quiere, vayan a la oscuridad cómo él quiere.
Melissa está interpretada por Teresa Lozano
 Mario está interpretado por Javier Cidoncha

Artistas invitados
Varios artistas conocidos en el mundo de la interpretación en España participaron en la serie.

 Episodio 1: Vicky Luengo (Zoe Santos / Natalia Santos), Guillermo Barrientos (David), Sonia Almarcha (Luna), Blanca Apilanez, Ignacio Hidalgo (Nicolás), Marta Aledo (Verónica), Jorge Anegon (Policía).
 Episodio 2: Manuela Paso (Concha), Daniel Casadellà (Aitor), Jorge Anegon (Policía), Nacho Rubio y José Luis García Pérez (José María), Miquel Fernández (Mecánico).
 Episodio 3: Gonzalo Kindelán, Roser Tapias, Juan Margallo (Miguel Sáenz), Ana Turpin, Críspulo Cabezas (Tomás Aguirre Castiella).
 Episodio 4: Manu Fullola, Bárbara Goenaga.
 Episodio 5: Juan Pablo Di Pace (Víctor).
 Episodio 6:  Daniel Avilés, Alicia Borrachero.
 Episodio 7: Sandra Blázquez, Jorge Suquet (Luis), Lucía Ramos, Diana Palazón (Esther) y Dani Sánchez.
 Episodio 8: Nacho Fresneda, Ana Torrent, Ignacio Hidalgo (Nicolás).
 Episodio 9: Elena Lucena, Alex Tuppin, Almudena Cid.
 Episodio 10: Luis G. Gaenz.
 Episodio 11: Marián Álvarez, Ana Labordeta
 Episodio 12: Sonia Almarcha (Luna), Marián Álvarez, Manolo Solo
 Episodio 13: Marián Álvarez, Sonia Almarcha (Luna), Manolo Solo
 Episodio 14: Marián Álvarez, Sonia Almarcha (Luna), Manolo Solo

Episodios y audiencias

Temporada 1: 2013

Evolución de audiencias

Referencias

Enlaces externos
 Sitio web de la serie en Telecinco.es
 El Don de Alba en línea en Mitele.es

 El Don de Alba blog spot.com
 Ficha de la serie en Ecoteuve.es
 Ficha de la serie en FormulaTV

Series de televisión de Telecinco
Series de televisión de España iniciadas en 2013
Series de televisión finalizadas en 2013
Series de televisión de ciencia ficción de España
Series de televisión derivadas
Adaptaciones de series de televisión estadounidenses

El don de Alba


La  est l'une des treize circonscriptions législatives que compte la préfecture de Chiba au Japon. Cette circonscription comptait  électeurs en date du .

Description géographique

La quatrième circonscription de la préfecture de Chiba correspond aux deux tiers sud de la ville de Funabashi.

Députés

Notes et références

Voir aussi

Articles connexes
 Chambre des représentants du Japon

Circonscription législative au Japon

Quatrième circonscription de la préfecture de Chiba


Yevgeny Maksimovich Primakov (em russo: Евгений Макси́мович Примако́в , tr. Yevgeniy Maksimovich Primakov ; 29 de outubro de 1929 - 26 de junho de 2015) foi um político e diplomata russo que serviu como primeiro-ministro da Rússia de 1998 a 1999. como Ministro das Relações Exteriores, Presidente do Soviete Supremo da União Soviética e chefe do serviço de inteligência. Primakov era um acadêmico (arabista) e membro do Presidium da Academia Russa de Ciências.

Início da vida
Primakov nasceu em Kiev na RSS da Ucrânia e cresceu em Tbilisi na RSS da Geórgia. Seus pais eram judeus e o nome da família era originalmente "Finkelstein", mas mais tarde foi alterado para "Primakov".  Seu pai, de acordo com a maioria dos registros, foi enviado para os gulags durante os expurgos stalinistas. Sua mãe era Anna Yakovlevna Primakova, que trabalhava como obstetra e prima do famoso fisiologista Yakov Kirshenblat. Ele foi educado no Instituto de Estudos Orientais de Moscou, graduando-se em 1953, e fez pós-graduação na Universidade Estadual de Moscou. De 1956 a 1970, trabalhou como jornalista para a rádio soviética e como correspondente do Oriente Médio para o jornal Pravda. Durante esse tempo, ele foi enviado frequentemente em missões de inteligência para o Oriente Médio e os Estados Unidos como cooptado da KGB sob o codinome MAKSIM.

Início da carreira política
Como Pesquisador Sênior do Instituto de Economia Mundial e Relações Internacionais, Primakov entrou em 1962 na sociedade científica. De 30 de dezembro de 1970 a 1977, atuou como vice-diretor do Instituto de Economia Mundial e Relações Internacionais da Academia de Ciências da URSS . Nesta função, ele participou das Conferências de Dartmouth. De 1977 a 1985 foi Diretor do Instituto de Estudos Orientais da Academia de Ciências da URSS. Durante este tempo, ele também foi o primeiro vice-presidente do Comitê de Paz Soviético. Em 1985 retornou ao Instituto de Economia Mundial e Relações Internacionais, exercendo o cargo de Diretor até 1989. Primakov envolveu-se na política em 1989, como presidente do Soviete da União, uma das duas casas do parlamento soviético. De 1990 até 1991 foi membro do Conselho Presidencial da União Soviética do líder soviético Mikhail Gorbachev. Ele serviu como enviado especial de Gorbachev ao Iraque no período que antecedeu a Guerra do Golfo Pérsico, na qual ele manteve conversas com o presidente Saddam Hussein para tentar convencê-lo a retirar as forças iraquianas do Kuwait.

Chefe de inteligência estrangeira
Após o golpe fracassado de agosto de 1991, Primakov foi nomeado Primeiro Vice-Presidente da KGB e Diretor da Primeira Diretoria Principal da KGB responsável pela inteligência estrangeira. Após a formação da Federação Russa, Primakov conduziu a transição da Primeira Diretoria Principal da KGB para o controle do governo da Federação Russa, sob o novo nome de Serviço de Inteligência Estrangeira (SVR). Primakov preservou o antigo aparato de inteligência estrangeira da KGB sob o novo rótulo SVR e não liderou expurgos de pessoal ou reformas estruturais. Ele atuou como diretor do SVR de 1991 a 1996.

Ministro das Relações Exteriores
Primakov serviu como Ministro dos Negócios Estrangeiros de Janeiro de 1996 até Setembro de 1998. Como Ministro dos Negócios Estrangeiros, ganhou respeito no país e no estrangeiro, com a reputação de um forte mas pragmático defensor dos interesses da Rússia  e como um oponente da expansão da OTAN no antigo bloco oriental, embora em 27 de maio de 1997, após cinco meses de negociação com o secretário-geral da OTAN Javier Solana, a Rússia assinou o Ato de Fundação, que é visto como marcando o fim das hostilidades da Guerra Fria. Ele apoiou Slobodan Milošević durante as guerras iugoslavas. Ele também foi um famoso defensor do multilateralismo como uma alternativa à hegemonia global americana após o colapso da URSS e o fim da Guerra Fria. Primakov pediu uma política externa russa baseada na mediação de baixo custo, enquanto expandia a influência para o Oriente Médio e as ex-repúblicas soviéticas. Chamada de "doutrina Primakov", a partir de 1999, ele promoveu a Rússia, China e Índia como um "triângulo estratégico" para contrabalançar os Estados Unidos. A medida foi interpretada por alguns observadores como um acordo para lutarmos juntos contra as "revoluções coloridas" na Ásia Central.

Primeiro Ministro (1998-99)
Depois que a tentativa de Yeltsin de restabelecer Viktor Chernomyrdin como primeiro-ministro da Rússia foi bloqueada pela Duma do Estado em setembro de 1998, o presidente se voltou para Primakov como uma figura de compromisso que ele julgou corretamente que seria aceita pela maioria do parlamento. Como primeiro-ministro, Primakov recebeu crédito por forçar algumas reformas muito difíceis na Rússia; a maioria deles, como a reforma tributária, se tornaram grandes sucessos. Após a colheita de 1998, que foi a pior em 45 anos, juntamente com a queda do rublo, uma das primeiras ações de Primakov como primeiro-ministro, em outubro de 1998, foi apelar para os Estados Unidos e Canadá por ajuda alimentar, ao mesmo tempo em que apelar à União Europeia para alívio econômico. Embora a oposição de Primakov ao unilateralismo percebido dos EUA fosse popular entre parte dos russos, também levou a uma ruptura com o Ocidente durante o bombardeio da OTAN à Iugoslávia em 1999 e isolou a Rússia durante os desenvolvimentos subsequentes na ex-Iugoslávia.

Em 24 de março de 1999, Primakov estava indo para Washington, DC para uma visita oficial. Sobrevoando o Oceano Atlântico, ele soube que a OTAN havia começado a bombardear a Iugoslávia . Primakov decidiu cancelar a visita, ordenou que o avião voltasse sobre o oceano e retornou a Moscou em uma manobra popularmente apelidada de "Circuito de Primakov".

Yeltsin demitiu Primakov em 12 de maio de 1999, ostensivamente devido ao ritmo lento da economia russa. Muitos analistas acreditavam que a demissão de Primakov refletia o medo de Yeltsin de perder o poder para uma pessoa mais bem-sucedida e popular,  embora fontes próximas a Yeltsin tenham dito na época que o presidente considerava Primakov muito próximo do Partido Comunista. O próprio Primakov teria boas chances como candidato à presidência. Yevgeny Primakov se recusou a demitir ministros comunistas enquanto o Partido Comunista liderava o processo de preparação de um processo de impeachment malsucedido contra o presidente. Em última análise, Yeltsin renunciou no final do ano e foi sucedido por seu último primeiro-ministro, Vladimir Putin. A demissão de Primakov foi extremamente impopular entre a população russa: de acordo com uma pesquisa, 81% da população não aprovou a decisão, e mesmo entre os apoiadores do partido liberal pró-ocidental Yabloko, 84% não aprovaram a demissão.

Adjunto e representante especial
Antes da renúncia de Yeltsin, Primakov apoiou a facção eleitoral Pátria - Toda a Rússia, que na época era o principal oponente da Unidade pró-Putin e lançou sua candidatura presidencial. Inicialmente considerado o homem a ser batido, Primakov foi rapidamente ultrapassado pelas facções leais ao primeiro-ministro Vladimir Putin nas eleições da Duma de dezembro de 1999. Primakov abandonou oficialmente a corrida presidencial em seu discurso de TV em 4 de fevereiro de 2000 menos de dois meses antes das eleições presidenciais de 26 de março. Logo ele se tornou um conselheiro de Putin e um aliado político. Em 14 de dezembro de 2001, Primakov tornou-se presidente da Câmara Russa de Comércio e Indústria, cargo que ocupou até 2011.

Em fevereiro e março de 2003, ele visitou o Iraque e conversou com o presidente iraquiano Saddam Hussein, como representante especial do presidente Putin. Ele levou a Bagdá uma mensagem de Putin pedindo que Saddam renunciasse voluntariamente. Ele tentou impedir a invasão do Iraque liderada pelos EUA em 2003, um movimento que recebeu algum apoio de várias nações que se opunham à guerra. Primakov sugeriu que Saddam deve entregar todas as armas de destruição em massa do Iraque às Nações Unidas, entre outras coisas. No entanto, o líder iraquiano disse a Primakov que estava confiante de que nenhum dano lhe aconteceria pessoalmente  - uma crença que mais tarde se provou incorreta. Primakov mais tarde afirmou que a execução de Saddam em 2006 foi apressada para impedi-lo de revelar informações sobre as relações Iraque-Estados Unidos que poderiam constranger o governo dos EUA. Em novembro de 2004, Primakov testemunhou em defesa do ex - presidente iugoslavo Slobodan Milošević, em julgamento por crimes de guerra. Ele já havia liderado uma delegação russa que se encontrou com Milošević durante o bombardeio da OTAN à Iugoslávia em 1999. Primakov deixou o cargo de Presidente da Câmara de Comércio e Indústria Russa em 4 de março de 2011.

Vida acadêmica
Desde 1988, Primakov foi o secretário acadêmico da Divisão de Economia Mundial e Relações Internacionais, diretor do Instituto de Economia Mundial e Relações Internacionais e membro do Presidium da Academia de Ciências da URSS. Em 26 de maio de 2008, Primakov foi eleito membro do Presidium da Academia Russa de Ciências. Em 2009, a Universidade de Niš, Sérvia concedeu a Primakov um doutorado honorário. Em homenagem a Primakov em 2015 começou o Primakov Readings - a cúpula internacional anual destinada a promover o diálogo sobre as tendências globais atuais na economia mundial, política internacional e segurança entre especialistas de alto escalão, diplomatas e tomadores de decisão de todo o globo, organizado pelo Instituto de Economia Mundial e Relações Internacionais e realizada em Moscou.

Pessoal
Seu neto Yevgeny Primakov Jr. (em russo : Евгений Александрович Примаков) é muito ativo como correspondente da mídia e com assuntos do governo russo. Como correspondente, ele era conhecido como Yevgeny Sandro (em russo: Евгений Сандро) e cobria eventos na Líbia, Palestina e a Guerra do Iraque para a NTV e mais tarde chefiou o escritório israelense do Channel One. De 2013 a 2014, esteve na Jordânia para as Nações Unidas como Diretor de Mídia e Comunicações no Gabinete do Diretor para o Oriente Médio e Norte da África. Ele foi consultor de assuntos internacionais do presidente da Duma Vyacheslav Volodin de maio de 2017 a setembro de 2018, quando Primakov foi eleito para a 7ª Duma no partido Rússia Unida.

Morte
Primakov morreu em Moscou em 26 de junho de 2015, aos 85 anos, após doença prolongada (câncer de fígado). Ele foi enterrado com honras militares no Cemitério Novodevichy.

Prêmios

 Ordem de Mérito da Pátria 1ª Classe (2009)
 Ordem de Mérito da Pátria 2ª Classe (1998)
 Ordem do Mérito da Pátria 3ª Classe (1995)
 Medalha "Em Comemoração do 850º Aniversário de Moscou" (1997)
 Ordem de Honra (2004)
 Ordem de Lenin (1986)
 Ordem do Distintivo de Honra (1985)
 Ordem da Amizade dos Povos (1979)
 Ordem da Bandeira Vermelha do Trabalho (1975)
 Medalha "Veterano do Trabalho" (1974)
 Ordem da Amizade (Tajiquistão, 1999)
 Ordem de Yaroslav I, o Sábio 5ª Classe (Ucrânia, 2004)
 Ordem de Danaker (Quirguistão) (2005)
 Ordem da Amizade dos Povos (Bielorrússia , 2005)
 Ordem de Dostyk 1ª Classe (Cazaquistão, 2007)
 Ordem da República 1ª Classe (Transnístria, 2009)
 Medalha da Independência (Cazaquistão, 2012)
 Ordem de Jerusalém 1ª Classe (Autoridade Nacional Palestina, 2014)
 Prêmio Demidov (2012)
 Destinatário do Prêmio do Estado da URSS (1980)
 Destinatário do Prêmio Nasser (1974)
 Destinatário do Prêmio Avicena (1983)
 Destinatário do Prêmio George F. Kennan (1990)
 Recebeu o Prêmio Hugo Grotius pela enorme contribuição ao desenvolvimento do direito internacional e pela criação de uma doutrina mundial multipolar (2000).

Escritos: grandes livros

 1979: Anatomia do conflito no Oriente Médio
 2003 : Um Mundo Desafiado : Combate ao Terrorismo no Século XXI
 2004 : Encruzilhada Russa : Rumo ao Novo Milênio
 2009 : Rússia e os árabes : Bastidores no Oriente Médio da Guerra Fria ao Presente
 2014: Encontros na encruzilhada

Ver também

 Gabinete de Yevgeny Primakov
 Yevgeny Primakov Jr.
 Operação INFEKTION

Referências

Políticos da Rússia
Ministros das Relações Exteriores da Rússia

Yevgeny Primakov


Bakhdida (, , )  er en by i Iraks Ninawa-provins. Byen ligger 32 km sydøst for Mosul.

Byen har  indbyggere efter befrielsen fra Islamisk Stat.

Referencer

Eksterne henvisninger

Byer i Irak

Bakhdida


Der afghanische Botschafter residiert in Tokio.

Einzelnachweise

Japan
Afghanistan
!

Liste der afghanischen Botschafter in Japan


Viola abyssinica es una especie de violeta. Se encuentra en África tropical y Madagascar.

Descripción
Es una planta herbácea perennifolia, con  tallos que alcanzan un tamaño de 60 cm de largo, a menudo con enraizamiento en los nudos. Los tallos son delgados, estrechamente alados. Las hojas alternas, cordadas, de 1-2 cm de largo y, crenadas, híspidas; peciolo delgado, de hasta 2 cm de largo, estípulas foliáceas. Las flores axilares, solitarias,  persistente, con pedicelos delgados, de hasta 5 cm de largo. Sépalos más o menos iguales, estrechamente ovado-acuminados, de 5 mm de largo. Pétalos con los dos pares superiores blanquecinos, obovados, de 5-10 mm de largo, el anterior más corto, de color claro a azul oscuro o violeta, venoso, con un espolón cilíndrico cerrado junto a la gran curva del pedúnculo-ápice. El fruto es una cápsula ovoide, de 5 mm de largo, glabra, pálida, con varias a muchas semillas ovoides, de 1-2 mm.

Distribución y hábitat
Se encuentra en los márgenes de los bosques de montaña, entre los matorrales de bambú, en los claros de bosques, y en pastizales húmedos, a una altitud de 1000-2700 (-3350) metros, en Fernando Poo (Bioko), Sudáfrica (Transvaal), Madagascar.

Taxonomía
Viola abyssinica fue descrita por Steud. ex Oliv. y publicado en Flora of Tropical Africa 1: 105, en el año 1868.
Sinonimia
Viola emirnensis Bojer
Viola zongia Tul.

Referencias

Enlaces externos

abyssinica
Plantas de interior

Viola abyssinica


Pavilion est une communauté située dans la province de la Colombie-Britannique, dans le centre-sud.

Notes et références

Liens externes

Municipalité en Colombie-Britannique

Pavilion (Colombie-Britannique)


Tony Isabella (born December 22, 1951) is an American comic book writer, editor, actor, artist and critic, known as the creator and writer of Marvel Comics' Black Goliath; DC Comics' first major African-American superhero, Black Lightning; and as a columnist and critic for the Comics Buyer's Guide.

Biography

Early life and influences
Tony Isabella was born in Cleveland, Ohio. He discovered comics at the age of four, when his mother began bringing him I. W. Publications titles she bought at Woolworth. Early influences from the comic book world included Stan Lee, Jack Kirby, Roy Thomas, Robert Kanigher, and Len Wein; Isabella was also influenced by writers such as William Shakespeare, Harlan Ellison, Ed McBain, Neil Simon, Mel Brooks, Lester Dent, Dave Barry, Max Allan Collins, Don Pendleton, and Studs Terkel.

As a teenager, Isabella had many letters published in comic book letter columns, primarily in the pages of Marvel titles. He was active in comics fandom as well, a member of CAPA-alpha, and a regular contributor to comics fanzines.

Marvel Comics
Isabella's work in comics fandom attracted the attention of Marvel editor Roy Thomas (whose professional career began in similar fashion), and in 1972 Thomas hired Isabella as an editorial assistant at Marvel. With Marvel's establishment of Marvel UK that year, Isabella was assigned the task of overseeing the reprints used in Marvel UK's nascent comics line. He also served for a time as an editor for Marvel's black-and-white magazine line.

As a writer, Isabella scripted Ghost Rider; the characters It, the Living Colossus, in Astonishing Tales; Luke Cage in Hero for Hire and Power Man; and Tigra in Marvel Chillers; Daredevil; and Captain America. While writing the "Iron Fist" feature in Marvel Premiere, he co-created the supporting character Misty Knight with artist Arvell Jones. Isabella developed the concept of The Champions series and wrote the first several issues.

Controversy
During his mid-1970s run on Ghost Rider, Isabella wrote a two-year story arc in which Johnny Blaze occasionally encountered an unnamed character referred to as "the Friend" who helped Blaze stay protected from Satan, who had granted Blaze supernatural power and created the Ghost Rider. Isabella said in 2007,

Isabella later said the assistant editor referenced was Jim Shooter. In 2020, Shooter said he had been concerned that this "basically established the Marvel universe is a Christian universe" and could alienate some portion of the readership by suggesting "that all other religions are false." He said after consulting with editor Marv Wolfman, he made the changes.

DC Comics
For DC Comics, Isabella worked as a writer and story editor but is mainly known for his creation of Black Lightning, writing both the character's short-lived 1970s and 1990s series. After reaching an agreement with DC, Isabella returned to the character in 2017 with the publication of the Black Lightning: Cold Dead Hands limited series.

Isabella and artist Richard Howell produced the Shadow War of Hawkman mini-series in 1985, involving the characters of Hawkman and Hawkwoman. An ongoing series was launched the following year.

Justice Machine
In 1987, Isabella began writing the Justice Machine series for Comico, co-plotting with series creator and penciller Mike Gustovich. The new series picked up from the end of the Bill Willingham/Gustovich written limited series Justice Machine featuring the Elementals, which re-booted the series' continuity from the older Noble Comics/Texas Comics-published original series. The ongoing book became one of Comico's best-selling series, selling upwards of 70,000 copies of each issue at its peak. Isabella wrote the first 11 issues of the Comico series before moving on to other projects.

In 1990, Isabella returned to the characters and wrote the series for Innovation Comics, with Gustovich pencilling once more.

"Tony's Tips"
Isabella wrote the Comics Buyer's Guide column "Tony's Tips" for over a decade. The last column was June 22, 2010. Starting in 2013, he continued "Tony's Tips" online at Tales of Wonder. He also regularly writes about comics and his work on his personal blog.

Books
Isabella is the co-author with his fellow Comics Buyer's Guide columnist Bob Ingersoll of the short story "If Wishes Were Horses..." which was published in The Ultimate Super-Villains: New Stories Featuring Marvel's Deadliest Villains (1996), and the novels Captain America: Liberty's Torch (1998) and Star Trek: The Case Of The Colonist's Corpse (2003). In 2009, his non-fiction book 1000 Comics You Must Read was published by Krause Publications.

Other work
During the 1980s, Isabella operated Cosmic Comics, a comic book shop in the Colonial Arcade in Downtown Cleveland.

He has also worked on translating foreign-language Disney comics and revising the wording for the U.S. market.

Personal life
Isabella's wife is named Barbara; they have two children, son Eddie (born c. 1989) and daughter Kelly (born c. 1992).

Awards
 1972 Goethe Award for "Favorite Fan Writer"
 2013 Inkpot Award

Bibliography

Atlas/Seaboard Comics
 Grim Ghost #3 (1975)
 Tales of Evil #3 (1975)

Atlas Comics (Ardden Entertainment)
 Grim Ghost vol. 2 #1–6 (with Stephen Susco) (2010–2011)

Caliber Comics
 Negative Burn #46 (1997)

Comico
 Justice Machine #1–6, 8–11 (1987)

Dark Horse
 Harlan Ellison's Dream Corridor Quarterly #1 (with Harlan Ellison) (1996)

DC Comics

 Black Lightning #1–10 (1977–1978)
 Black Lightning vol. 2 #1–8 (1995)
Black Lightning: Cold Dead Hands #1–6 (2018)
 DC Comics Presents #95 (1986)
 DCU Holiday Bash #2 (Black Lightning) (1998)
 Hawkman vol. 2 #1–9, Special #1 (1986–1987)
 Heroes Against Hunger #1 (1986)
 Mystery in Space #111 (1980)
 Secret Origins vol. 2 #26 (Black Lightning) (1988)
 Shadow War of Hawkman #1–4 (1985)
 Star Trek #22–23, 29, 31 (1986)
 Star Trek: All of Me #1 (with Bob Ingersoll) (2000)
 Star Trek: The Next Generation Special #1 (with Bob Ingersoll) (1993)
 Tarzan Family #66 (1976)
 Teen Titans Spotlight #16 (Thunder and Lightning), #17 (Magenta) (1987)
 Welcome Back, Kotter #3 (1977)
 World's Finest Comics #244 (Green Arrow) (1977)

Image Comics
 Geeksville #3 (2000)

Innovation Publishing
 Justice Machine vol. 3 #5–7 (1990–1991)
Sentry Special #1 (with Bob Ingersoll) (1991)

Marvel Comics

 The Amazing Spider-Man Annual #24 (1990)
 Astonishing Tales #21–24 (It! The Living Colossus) (1973–1974)
 The Avengers #145–146 (1976)
 Black Goliath #1 (1976)
 Captain America #168, 189–191 (1973–1975)
 Chamber of Chills #5 (1973)
 Champions #1–3, 5–7 (1975–1976)
 Creatures on the Loose #25, 32 (1973–1974)
 Daredevil #119–123 (1975)
 Deadly Hands of Kung Fu #10, Special #1 (1974–1975)
 Doc Savage #7–8 (1973–1974)
 Dracula Lives #6, 9, 13 (1974–1975)
 Fantastic Four #153 (1974)
 Ghost Rider #7–9, 11–15, 17–19 (1974–1976)
 Giant-Size Creatures #1 (1974)
 Giant-Size Defenders #1 (1974)
 Giant-Size Dracula #5 (1975)
 Haunt of Horror #4 (1974)
 Hero for Hire #15 (1973)
 Legion of Monsters #1 (1975)
 Marvel Chillers #3, 5–6 (Tigra) (1976)
 Marvel Premiere #20–22 (Iron Fist) (1975)
 Marvel Tales #242, 250 (Rocket Racer backup stories) (1990–1991)
 Marvel Team-Up #145 (1984)
 Marvels Comics: Daredevil #1 (2000)
 Monsters Unleashed #3–5, 10 (1973–1975)
 Moon Knight #34–35 (1983–1984)
 Power Man #20, 22–25 (1974–1975)
 Power Man and Iron Fist #110 (1984)
 The Spectacular Spider-Man #35, Annual #10 (1979, 1990)
 Super-Villain Team-Up #1–2 (1975)
 Supernatural Thrillers #8–13 (1974–1975)
 Tales of the Zombie #2–3, 5, 9 (1973–1975)
 Unknown Worlds of Science Fiction #1–4 (1975)
 Vampire Tales #4 (1974)
 War Is Hell #9–10 (1974)
 Web of Spider-Man #74–76, Annual #6–7 (1990–1991)
 What If...? #24 (Spider-Man) (1980)

Topps Comics
 Jack Kirby's Secret City Saga #0 (1993)
 Satan's Six #1–4 (1993)

Warren Publishing
 Vampirella #26 (ghostwriter for Len Wein) (1973)

Filmography

References

External links

Tony Isabella at Mike's Amazing World of Comics
Tony Isabella at the Unofficial Handbook of Marvel Comics Creators
Tony's Online Tips at World Famous Comics
Tony Isabella's Bloggy Thing (Personal Blog)

1951 births
American bloggers
American columnists
American comics writers
Comic book editors
Inkpot Award winners
Journalists from Ohio
Living people
Marvel Comics writers
DC Comics people
Writers from Cleveland
21st-century American non-fiction writers
American writers of Italian descent

Tony Isabella


is a Japanese contemporary artist who works primarily in sculpture and installation, and is also active in painting, performance, video art, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged as one of the most important living artists to come out of Japan, the world's top-selling female artist, and the world's most successful living artist. Her work influenced that of her contemporaries, including Andy Warhol and Claes Oldenburg.

Kusama was raised in Matsumoto, and trained at the Kyoto City University of Arts for a year in a traditional Japanese painting style called nihonga. She was inspired by American Abstract impressionism. She moved to New York City in 1958 and was a part of the New York avant-garde scene throughout the 1960s, especially in the pop-art movement. Embracing the rise of the hippie counterculture of the late 1960s, she came to public attention when she organized a series of happenings in which naked participants were painted with brightly coloured polka dots. She experienced a period in the 70s during which her work was largely forgotten, but a revival of interest in the 1980s brought her art back into public view. Kusama has continued to create art in various museums around the world, from the 1950s through the 2020s.

Kusama has been open about her mental health and has resided since the 1970s in a mental health facility which she leaves daily to walk to her nearby studio to work. She says that art has become her way to express her mental problems. "I fight pain, anxiety, and fear every day, and the only method I have found that relieved my illness is to keep creating art," she told an interviewer in 2012. "I followed the thread of art and somehow discovered a path that would allow me to live."

Biography

Early life: 1929–1949
Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano. Born into a family of merchants who owned a plant nursery and seed farm, Kusama began drawing pictures of pumpkins in elementary school and created artwork she saw from hallucinations, works of which would later define her career. Her mother was not supportive of her creative endeavors; Kusama would rush to finish her art because her mother would take it away to discourage her. Her mother was physically abusive, and Kusama remembers her father as "the type who would play around, who would womanize a lot". The artist says that her mother would often send her to spy on her father's extramarital affairs, which instilled within her a lifelong contempt for sexuality, particularly the male's lower body and the phallus: "I don't like sex. I had an obsession with sex. When I was a child, my father had lovers and I experienced seeing him. My mother sent me to spy on him. I didn't want to have sex with anyone for years [...] The sexual obsession and fear of sex sit side by side in me." Her traumatic childhood, including her fantastic visions, can be said to be the origin of her artistic style.

When Kusama was ten years old, she began to experience vivid hallucinations which she has described as "flashes of light, auras, or dense fields of dots". These hallucinations included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her, a process which she has carried into her artistic career and which she calls "self-obliteration". Kusama's art became her escape from her family and her own mind when she began to have hallucinations. She was reportedly fascinated by the smooth white stones covering the bed of the river near her family home, which she cites as another of the seminal influences behind her lasting fixation on dots.

When Kusama was 13, she was sent to work in a military factory where she was tasked with sewing and fabricating parachutes for the Japanese army, then embroiled in World War II. Discussing her time in the factory, she says that she spent her adolescence "in closed darkness" although she could always hear the air-raid alerts going off and see American B-29s flying overhead in broad daylight. Her childhood was greatly influenced by the events of the war, and she claims that it was during this period that she began to value notions of personal and creative freedom. She attended Arigasaki High School.

She went on to study Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo in the 1950s.

Early success in Japan: 1950–1956
By 1950, she was depicting abstract natural forms in water colour, gouache, and oil paint, primarily on paper. She began covering surfaces—walls, floors, canvases, and later, household objects, and naked assistants—with the polka dots that became a trademark of her work.

The vast fields of polka dots, or "infinity nets", as she called them, were taken directly from her hallucinations. The earliest recorded work in which she incorporated these dots was a drawing in 1939 at age 10, in which the image of a Japanese woman in a kimono, presumed to be the artist's mother, is covered and obliterated by spots. Her first series of large-scale, sometimes more than 30 ft-long canvas paintings, Infinity Nets, were entirely covered in a sequence of nets and dots that alluded to hallucinatory visions.

On her 1954 painting Flower (D.S.P.S), Kusama has said:

New York City: 1957–1972

After living in Tokyo and France, Kusama left Japan at the age of 27 for the United States. She has stated that she began to consider Japanese society "too small, too servile, too feudalistic, and too scornful of women". Before leaving Japan to the United States, she destroyed many of her early works. In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery. She stayed there for a year before moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the city, and sought O'Keeffe's advice. During her time in the US, she quickly established her reputation as a leader in the avant-garde movement and received praise for her work from the anarchist art critic Herbert Read.

In 1961, she moved her studio into the same building as Donald Judd and sculptor Eva Hesse; Hesse became a close friend. In the early 1960s, Kusama began to create so-called soft sculptures by covering items such as ladders, shoes and chairs with white phallic protrusions. Despite the micromanaged intricacy of the drawings, she turned them out fast and in bulk, establishing a rhythm of productivity which she still maintains. She established other habits too, like having herself routinely photographed with new work and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.

In the early 1960s, Kusama was working with soft sculpture. In June 1963, Kusama, one of her pieces, a couch covered with phallus-like protrusions she had sewn, was exhibited at the Green Gallery. Included in the same exhibition was a papier-mache sculpture by Claes Oldenburg, who had not worked in soft sculpture. Kusama's piece received the most attention from attendees and critics, and by September Oldenburg was exhibiting sewn soft sculpture, some pieces of which were very similar to Kusama's; Oldenburg's wife apologized to Kusama at the exhibit. According to Fordham professor of art Midori Yamamura, Oldenburg likely was inspired by Kusama's work to use sewn pieces himself, pieces which made him an "international star". Kusama became depressed over the incident. A similar incident soon after when Kusama exhibited a boat she had covered in soft-sculpture with photographs of the boat completely covering the walls of the exhibit space, which was very innovative. Andy Warhol remarked on the exhibit, and not long after covered the walls of an exhibit space with photos of a cow, for which he drew significant attention. Kusama became very secretive about her studio work. Helaine Posner, of the Neuberger Museum of Art, said it was likely some combination of racism and sexism that kept Kusama, who was creating work of equal importance to men who were using her ideas and taking the credit for them, from getting the same kinds of backing.

Since 1963, Kusama has continued her series of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-built rooms lined with mirrored glass contain scores of neon-colored balls, hanging at various heights above the viewer. Standing inside on a small platform, an observer sees light repeatedly reflected off the mirrored surfaces to create the illusion of a never-ending space.

During the following years, Kusama was enormously productive, and by 1966, she was experimenting with room-size, freestanding installations that incorporated mirrors, lights, and piped-in music. She counted Judd and Joseph Cornell among her friends and supporters. However, she did not profit financially from her work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off financial hardship. She was not able to make the money she believed she deserved, and her frustration became so extreme that she attempted suicide.

In the 1960s, Kusama organized outlandish happenings in conspicuous spots like Central Park and the Brooklyn Bridge, often involving nudity and designed to protest the Vietnam War. In one, she wrote an open letter to Richard Nixon offering to have sex with him if he would stop the Vietnam war. Between 1967 and 1969, she concentrated on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, as in the Grand Orgy to Awaken the Dead at the MoMA (1969), which took place at the Sculpture Garden of the Museum of Modern Art. During the unannounced event, eight performers under Kusama's direction removed their clothing, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures by Picasso, Giacometti, and Maillol.

In 1968, Kusama presided over the happening Homosexual Wedding at the Church of Self-obliteration at 33 Walker Street in New York and performed alongside Fleetwood Mac and Country Joe and the Fish at the Fillmore East in New York City. She opened naked painting studios and a gay social club called the Kusama 'Omophile Kompany (kok).
The nudity present in Kusama's art and art protests was severely shameful for her family; her high school removed her name from its list of alumni. This made her feel alone, and she attempted suicide again.

In 1966, Kusama first participated in the Venice Biennale for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she called a "kinetic carpet". As soon as the piece was installed on a lawn outside the Italian pavilion, Kusama, dressed in a golden kimono, began selling each individual sphere for 1,200 lire (US$2), until the Biennale organizers put an end to her enterprise. Narcissus Garden was as much about the promotion of the artist through the media as it was an opportunity to offer a critique of the mechanization and commodification of the art market.

During her time in New York, Kusama had a brief relationship with artist Donald Judd. She then began a passionate, platonic relationship with the surrealist artist Joseph Cornell. She was 26 years his junior – they called each other daily, sketched each other, and he would send personalized collages to her. Their lengthy association lasted until his death in 1972.

Return to Japan: 1973–1977

In 1973, Kusama returned to Japan. Her reception from the Japanese art world and press was unsympathetic; one art collector recalled considering her a "scandal queen". She was in ill health, but continued to work, writing shockingly visceral and surrealistic novels, short stories, and poetry.

She became so depressed she was unable to work and made another suicide attempt, then in 1977, found a doctor who was using art therapy to treat mental illness in a hospital setting. She checked herself in and eventually took up permanent residence in the hospital. She has been living at the hospital ever since, by choice. Her studio, where she has continued to produce work since the mid-1970s, is a short distance from the hospital in Tokyo. Kusama is often quoted as saying: "If it were not for art, I would have killed myself a long time ago."

From this base, she has continued to produce artworks in a variety of media, as well as launching a literary career by publishing several novels, a poetry collection, and an autobiography. Her painting style shifted to high-colored acrylics on canvas, on an amped-up scale.

Revival: 1980s–present
Kusama's move to Japan meant she had to build a new career from scratch.

Her organically abstract paintings of one or two colors (the Infinity Nets series), which she began upon arriving in New York, garnered comparisons to the work of Jackson Pollock, Mark Rothko, and Barnett Newman. When she left New York she was practically forgotten as an artist until the late 1980s and 1990s, when a number of retrospectives revived international interest. Yayoi Kusama: A Retrospective was the first critical survey of Yayoi Kusama presented at the Center for International Contemporary Arts (CICA) in New York in 1989, and was organized by Alexandra Munroe.

Following the success of the Japanese pavilion at the Venice Biennale in 1993, a dazzling mirrored room filled with small pumpkin sculptures in which she resided in color-coordinated magician's attire, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to represent for her a kind of alter-ego or self-portrait. The 2.5-meter-wide "Pumpkin," made of fiberglass-reinforced plastic, was installed in 1994 on a pier on Naoshima, Kagawa, becoming iconic as the artist's profile grew in the following decades; it was reinstalled in 2022 after being destroyed by a typhoon a year earlier. Kusama's later installation I'm Here, but Nothing (2000–2008) is a simply furnished room consisting of table and chairs, place settings and bottles, armchairs and rugs, however its walls are tattooed with hundreds of fluorescent polka dots glowing in the UV light. The result is an endless infinite space where the self and everything in the room is obliterated.

The multi-part floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine red with white polka dots, was displayed in Pandanus Lake. Perhaps one of Kusama's most notorious works, various versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; as part of the Whitney Biennial in Central Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.

Kusama continued to work as an artist in her ninth decade. She has harkened back to earlier work by returning to drawing and painting; her work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-canvas works. Also featured was an exploration of infinite space in her Infinity Mirror rooms. These typically involve a cube-shaped room lined in mirrors, with water on the floor and flickering lights; these features suggest a pattern of life and death.

In 2015–2016, the first retrospective exhibition in Scandinavia, curated by Marie Laurberg, travelled to four major museums in the region, opening at Louisiana Museum of Modern Art in Denmark and continuing to Henie Onstad Kunstsenter Museum, Norway; Moderna Museet in Sweden, and Helsinki Art Museum in Finland. This major show contained more than 100 objects and large scale mirror room installations. It presented several early works that had not been shown to the public since they were first created, including a presentation of Kusama's experimental fashion design from the 1960s.

In 2017, a 50-year retrospective of her work opened at the Hirshhorn Museum in Washington, DC. The exhibit featured six Infinity Mirror rooms, and was scheduled to travel to five museums in the US and Canada.

On 25 February 2017, Kusama's All the Eternal Love I Have for the Pumpkins exhibit, one of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for three days following damage to one of the exhibit's glowing pumpkin sculptures. The room, which measures  and was filled with over 60 pumpkin sculptures, was one of the museum's most popular attractions ever. Allison Peck, a spokeswoman for the Hirshhorn, said in an interview that the museum "has never had a show with that kind of visitor demand", with the room totalling more than 8,000 visitors between its opening and its temporary closure. While there were conflicting media reports about the cost of the damaged sculpture and how exactly it was broken, Allison Peck stated that "there is no intrinsic value to the individual piece. It is a manufactured component to a larger piece." The exhibit was reconfigured to make up for the missing sculpture, and a new one was to be produced for the exhibit by Kusama. The Infinity Mirrors exhibit became a sensation among art critics as well as on social media. Museum visitors shared 34,000 images of the exhibition to their Instagram accounts, and social media posts using the hashtag #InfiniteKusama garnered 330 million impressions, as reported by the Smithsonian the day after the exhibit's closing. The works provided the perfect setting for Instagram-able selfies which inadvertently added to the performative nature of the works.

Later in 2017, the Yayoi Kusama Museum opened in Tokyo, featuring her works.

On 9 November 2019, Kusama's Everyday I Pray For Love exhibit was shown at David Zwirner Gallery until 14 December 2019. The exhibition incorporated sculptures and paintings, and included the debut of her Infinity Mirrored Room - Dancing Lights That Flew Up To The Universe. The catalogue, published by David Zwirner books, contained texts and poems from the artist.

In January 2020, the Hirshhorn announced it would debut new Kusama acquisitions, including two Infinity Mirror Rooms, at a forthcoming exhibition called One with Eternity: Yayoi Kusama in the Hirshhorn Collection. The name of the exhibit is derived from an open letter Kusama wrote to then-President Richard Nixon in 1968, writing: "let's forget ourselves, dearest Richard, and become one with the absolute, all together in the altogether."

In November 2021, a monumental exhibition offering an overview of Kusama's main creative periods over the past 70 years, with some 200 works and four Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Art. The retrospective spans almost 3,000 m2 across the Museum's two buildings, in six galleries and includes 2 new works: A Bouquet of Love I Saw in the Universe, 2021 and Light of the Universe Illuminating the Quest for Truth, 2021.

As of late December 2022, the Hong Kong's M+ museum has a retrospective on Kusama's career entitled "Yayoi Kusama: 1945 to now." The exhibit, showing until May 2023, is the largest retrospective of her art in Asia, not including her home country.

The Pérez Art Museum Miami has the most recent showing of Kusama's work in South Florida. Yayoi Kusama: LOVE IS CALLING will be on view and accessible to the public through 2024.

Meaning and origins of her work
Curator Mika Yoshitake has stated that Kusama's works on display are meant to immerse the whole person into her accumulations, obsessions, and repetitions. These infinite, repetitive works were originally a way for Kusama to eliminate her intrusive thoughts. Claire Voon has described one of Kusama's mirror exhibits as being able to "transport you to quiet cosmos, to a lonely labyrinth of pulsing light, or to what could be the enveloping innards of a leviathan with the measles".

Creating these feelings amongst audiences was intentional. These experiences seem to be unique to her work because Kusama wanted others to sympathise with her in her troubled life. Bedatri D. Choudhury has described how Kusama feeling not in control throughout her life made her, either consciously or subconsciously, want to control how others perceive time and space when entering her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works as well or perhaps not at all. Art had become a coping mechanism for Kusama.

In 1962, Kusama created her work, Accumulation of Stamps, 63. The medium used are pasted labels and ink on paper with dimensions of 23 3/4 x 29" (60.3 x 73.6 cm). The art was donated by Phillip Johnson to the Department of Drawings and Prints at the Museum of Modern Art. Kusama experienced hallucinations of flowers, dots, and nets during her childhood. These visions engulfed her surroundings, covering everything from ceilings to windows and walls. She saw the same pattern expanding to encompass her body and the entire universe. Kusama's struggle with these hallucinations, which were linked to her mental illness, influenced her artistic style. To cope with her condition, Kusama adopted repeated forms in her art, using store-bought labels and stickers. She doesn't view her art as an end in itself but rather as a means to address her disability that originated in her childhood. The process of repetition, evident in her collages, reflects her artistic approach. Consequently, many of her artworks bear titles that include words like "accumulation" and "infinity".

Works and publications

Performance

In Kusama's Walking Piece (1966), a performance that was documented in a series of eighteen color slides, Kusama walked along the streets of New York City in a traditional Japanese kimono while holding a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, however, was made to look inauthentic, as it was actually a black umbrella, painted white on the exterior and decorated with fake flowers. Kusama walked down unoccupied streets in an unknown quest. She then turned and cried without reason, and eventually walked away and vanished from view.

This performance, through the association of the kimono, involved the stereotypes that Asian-American women continued to face. However, as an avant-garde artist living in New York, her situation altered the context of the dress, creating a cross-cultural amalgamation. Kusama was able to highlight the stereotype in which her white American audience categorized her, by showing the absurdity of culturally categorizing people in the world's largest melting pot.

Film
In 1968, Kusama and Jud Yalkut's collaborative work Kusama's Self-Obliteration won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival. The 1967 experimental film, which Kusama produced and starred in, depicted Kusama painting polka dots on everything around her including bodies.

In 1991, Kusama starred in the film Tokyo Decadence, written and directed by Ryu Murakami, and in 1993, she collaborated with British musician Peter Gabriel on an installation in Yokohama.

Fashion
In 1968, Kusama established Kusama Fashion Company Ltd, and began selling avantgarde fashion in the "Kusama Corner" at Bloomingdales. In 2009, Kusama designed a handbag-shaped cell phone entitled Handbag for Space Travel, My Doggie Ring-Ring, a pink dotted phone in accompanying dog-shaped holder, and a red and white dotted phone inside a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile communication giant KDDI Corporation's "iida" brand. Each phone was limited to 1,000 pieces.

In 2011, Kusama created artwork for six limited-edition lipglosses from Lancôme. That same year, she worked with Marc Jacobs (who visited her studio in Japan in 2006) on a line of Louis Vuitton products, including leather goods, ready-to-wear, accessories, shoes, watches, and jewelry. The products became available in 2012 at a SoHo pop-up shop, which was decorated with Kusama's trademark tentacle-like protrusions and polka-dots. Eventually, six other pop-up shops were opened around the world. When asked about her collaboration with Marc Jacobs, Kusama replied that "his sincere attitude toward art" is the same as her own. Louis Vuitton created a second set of products in 2023.

Writing
In 1977, Kusama published a book of poems and paintings entitled 7. One year later, her first novel Manhattan Suicide Addict appeared. Between 1983 and 1990, she finished the novels The Hustler's Grotto of Christopher Street (1983), The Burning of St Mark's Church (1985), Between Heaven and Earth (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), alongside several issues of the magazine S&M Sniper in collaboration with photographer Nobuyoshi Araki. Her most recent writing endeavor includes her autobiography Infinity Net published in 2003 that depicts her life from growing up in Japan, her departure to the United States, and her return to her home country, where she now resides. Infinity Net includes the artist's poetry and photographs of her exhibitions.

Commissions

To date, Kusama has completed several major outdoor sculptural commissions, mostly in the form of brightly hued monstrous plants and flowers, for public and private institutions including Pumpkin (1994) for the Fukuoka Municipal Museum of Art; The Visionary Flowers (2002) for the Matsumoto City Museum of Art; Tsumari in Bloom (2003) for Matsudai Station, Niigata; Tulipes de Shangri-La (2003) for Euralille in Lille, France; Red Pumpkin (2006) for Naoshima Town, Kagawa; Hello, Anyang with Love (2007) for Pyeonghwa Park (now referred as World Cup Park), Anyang; and The Hymn of Life: Tulips (2007) for the Beverly Gardens Park in Los Angeles. In 1998, she realized a mural for the hallway of the Gare do Oriente subway station in Lisbon. Alongside these monumental works, she has produced smaller scale outdoor pieces including Key-Chan and Ryu-Chan, a pair of dotted dogs. All the outdoor works are cast in highly durable fiberglass-reinforced plastic, then painted in urethane to glossy perfection.

In 2010, Kusama designed a Town Sneaker styled bus, which she titled Mizutama Ranbu (Wild Polka Dot Dance) and whose route travels through her hometown of Matsumoto. In 2011, she was commissioned to design the front cover of millions of pocket London Underground maps; the result is entitled Polka Dots Festival in London (2011). Coinciding with an exhibition of the artist's work at the Whitney Museum of American Art in 2012, a  reproduction of Kusama's painting Yellow Trees (1994) covered a condominium building under construction in New York's Meatpacking District. That same year, Kusama conceived her floor installation Thousands of Eyes as a commission for the new Queen Elizabeth II Courts of Law, Brisbane.

Select exhibitions
 Rodenbeck, J.F. "Yayoi Kusama: Surface, Stitch, Skin." Zegher, M. Catherine de. Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine. Cambridge, Mass: The MIT Press, 1996.
 Institute of Contemporary Art, Boston, 30 January – 12 May 1996.
 Kusama, Yayoi, and Damien Hirst. Yayoi Kusama Now. New York, N.Y.: Robert Miller Gallery, 1998.
 Robert Miller Gallery, New York, 11 June – 7 August 1998.
 Kusama, Yayoi, and Lynn Zelevansky. Love Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Art, 1998.
 Los Angeles County Museum of Art, 8 March – 8 June 1998; three other locations through 4 July 1999.
 Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002.
 Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002.
 Seven European exhibitions in France, Germany, Denmark, etc.; 2001–2003.
 Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004.
 Mori Art Museum, 7 February – 9 May 2004; Mori Geijutsu Bijutsukan, Sapporo, 5 June – 22 August 2004.
 Kusama, Yayoi, and Tōru Matsumoto. Kusama Yayoi eien no genzai = Yayoi Kusama: eternity-modernity. Tōkyō: Bijutsu Shuppansha, 2005.
 Tōkyō Kokuritsu Kindai Bijutsukan, 26 October – 19 December 2004; Kyōto Kokuritsu Kindai Bijutsukan, 6 January – 13 February 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 April – 3 July 2005; at Matsumoto-shi Bijutsukan, 30 July – 10 October 2005.
 Applin, Jo, and Yayoi Kusama. Yayoi Kusama. London: Victoria Miro Gallery, 2007.
 Victoria Miro Gallery, London, 10 October – 17 November 2007.
 Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009.
 Gagosian Gallery, New York, 16 April – 27 June 2009; Gagosian Gallery, Beverly Hills, 30 May – 17 July 2009.
 Morris, Frances, and Jo Applin. Yayoi Kusama. London: Tate Publishing, 2012.
 Reina Sofia, Madrid, 10 May – 12 September 2011; Centre Pompidou, Paris, 10 October 2011 – 9 January 2012; Whitney Museum of American Art, New York, 12 July – 30 September 2012; Tate Modern (London), 9 February – 5 June 2012.
 Kusama, Yayoi, and Akira Tatehata. Yayoi Kusama: I Who Have Arrived in Heaven. New York: David Zwirner, 2014.
 David Zwirner Gallery, New York, 8 November – 21 December 2013.
 Laurberg, Marie: Yayoi Kusama – In Infinity, Denmark: Louisiana Museum of Modern Art, 2015, Heine Onstadt, Oslo, 2016, Moderna Museum, Stockholm, 2016, and Helsinki Art Museum, 2016
 David Zwirner Gallery, New York, 9 November – 14 December 2019.
 Pérez Art Museum Miami. Yayoi Kusama: LOVE IS CALLING, 9 March 2023 – 11 February 2024.

Illustration work
 Carroll, Lewis and Yayoi Kusama. Lewis Carroll's Alice's Adventures in Wonderland. London: Penguin Classics, 2012.

Chapters
 Nakajima, Izumi. "Yayoi Kusama between abstraction and pathology." Pollock, Griselda, ed. Psychoanalysis and the Image: Transdisciplinary Perspectives. Malden, MA: Blackwell Pub, 2006. pp. 127–160.
 Klaus Podoll, "Die Künstlerin Yayoi Kusama als pathographischer Fall." Schulz R, Bonanni G, Bormuth M, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119.
 Cutler, Jody B. "Narcissus, Narcosis, Neurosis: The Visions of Yayoi Kusama." Wallace, Isabelle Loring, and Jennie Hirsh. Contemporary Art and Classical Myth. Farnham, Surrey: Ashgate, 2011. pp. 87–109.
 Gipson, Ferren. "Yayoi Kusama" in Women's Work pp. 75-79 Frances Lincoln, 2022 ISBN 9-780711 264656

Autobiography, writing
 Kusama, Yayoi. A Book of Poems and Paintings. Tokyo: Japan Edition Art, 1977.
 Kusama, Yayoi. Kusama Yayoi: Driving Image = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986.
 Kusama, Yayoi, Ralph F. McCarthy, Hisako Ifshin, and Yayoi Kusama. Violet Obsession: Poems. Berkeley: Wandering Mind Books, 1998.
 Kusama, Yayoi, Ralph F. McCarthy, Yayoi Kusama, and Yayoi Kusama. Hustlers Grotto: Three Novellas. Berkeley, Calif: Wandering Mind Books, 1998.
 Kusama, Yayoi. Infinity Net: The Autobiography of Yayoi Kusama. Chicago: The University of Chicago Press, 2011.
 Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005.

Catalogue raisonné, etc.
 Kusama, Yayoi. Yayoi Kusama: Print Works. Tokyo: Abe Corp, 1992.
 Hoptman, Laura, Akira Tatehata, and Udo Kultermann. Yayoi Kusama. London: Phaidon Press, 2003.
 Kusama, Yayoi, and Hideki Yasuda. Yayoi Kusama Furniture by Graf: Decorative Mode No. 3. Tōkyō: Seigensha Art Publishing, 2003.
 Kusama, Yayoi. Kusama Yayoi zen hangashū, 1979–2004 = All Prints of Kusama Yayoi, 1979–2004. Tōkyō: Abe Shuppan, 2006.
 Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Press, 2017.
 Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. . OCLC 954134388

Exhibitions

In 1959, Kusama had her first solo exhibition in New York at the Brata Gallery, an artist's co-op. She showed a series of white net paintings which were enthusiastically reviewed by Donald Judd (both Judd and Frank Stella then acquired paintings from the show). Kusama has since exhibited work with Claes Oldenburg, Andy Warhol, and Jasper Johns, among others. Exhibiting alongside European artists including Lucio Fontana, Pol Bury, Otto Piene, and Gunther Uecker, in 1962, she was the only female artist to take part in the widely acclaimed Nul (Zero) international group exhibition at the Stedelijk Museum in Amsterdam.

Exhibition List

 1976: Kitakyushu Municipal Museum of Art
1983: Yayoi Kusama's Self-Obliteration (Performance) at Video Gallery SCAN, Tokyo, Japan
 1993: Represented Japan at the Venice Biennale
 1998: "Love Forever: Yayoi Kusama,1958–1969", LACMA
 1998–99: "Love Forever: Yayoi Kusama,1958–1969" – exhibit traveled to Museum of Modern Art, New York, Walker Art Center, Minneapolis and Museum of Contemporary Art, Tokyo)
 2001–2003: Le Consortium – exhibit traveled to Maison de la Culture du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Center, Seoul
 2004: KUSAMATRIX, Mori Art Museum, Tokyo
 2004–2005: KUSAMATRIX traveled to Art Park Museum of Contemporary Art, Sapporo Art Park, Hokkaido); Eternity – Modernity, National Museum of Modern Art, Tokyo (touring Japan)
 2007: FINA Festival 2007. Kusama created Guidepost to the New Space, a vibrant outdoor installation for Birrarung Marr beside the Yarra River in Melbourne. In 2009, the Guideposts were re-installed at Fairchild Tropical Botanic Garden, this time displayed as floating "humps" on a lake.
 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand
 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli's Field. As of 13 September of that year the mirror room is permanently exhibited in the entrance area of the museum.
 July 2011: Museo Reina Sofía, Madrid, Spain
 2012: Tate Modern, London. Described as "akin to being suspended in a beautiful cosmos gazing at infinite worlds, or like a tiny dot of fluoresecent plankton in an ocean of glowing microscopic life", the exhibition features a retrospective spanning Kusama's entire career.
 30 June 2013 – 16 September 2013: MALBA, the Latinamerican Art Museum of Buenos Aires, Buenos Aires, Argentina
 22 May 2014 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil
 17 September 2015 – 24 January 2016: In Infinity, Louisiana Museum of Modern Art, Humlebæk, Denmark
 12 June – 9 August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russia. This was the artist's first solo exhibition in Russia.
 19 February – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
 20 September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Broad, Los Angeles, California
 12 June – 18 September 2016: Kusama: At the End of the Universe, Museum of Fine Arts, Houston, Houston, Texas
 1 May 2016 – 30 November 2016: Yayoi Kusama: Narcissus Garden, The Glass House, New Canaan, Connecticut.
 25 May 2016 – 30 July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, United Kingdom.
 7 October 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised by the Louisiana Museum of Modern Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Finland.
 5 November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Australia.
 23 February 2017 – 14 May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum show originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC
 30 June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Art Museum, Seattle, Washington
 9 June 2017 – 3 September 2017: Yayoi Kusama: Life is the Heart of a Rainbow, National Gallery Singapore.
 October 2017 – January 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Broad, Los Angeles, California
 October 2017 – February 2018: Yayoi Kusama: All the Eternal Love I Have for the Pumpkins, Dallas Museum of Art, Dallas, Texas
 November 2017 – February 2018: Yayoi Kusama: Life is the Heart of a Rainbow and Obliteration Room, GOMA, Brisbane, Australia
 December 2017 – April 2018: Flower Obsession, Triennial, NGV, Melbourne, Australia
 March 2018 – February 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Japan
 March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Art Gallery of Ontario, Toronto, Ontario, Canada
 May–September 2018: Yayoi Kusama: Life is the Heart of a Rainbow, Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia
 July–September 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Cleveland Museum of Art, exhibition travels to Cleveland, Ohio
 July–November 2018: Yayoi Kusama: Where The Lights In My Heart Go, exhibition travels to deCordova Museum and Sculpture Park, Lincoln, MA
26 July 2018 – Spring 2019: Yayoi Kusama: With All My Love for the Tulips, I Pray Forever (2011)
 March–September 2019: Yayoi Kusama, Museum Voorlinden, Wassenaar, The Netherlands
 9 November 2019 – 14 December 2019: Yayoi Kusama: Everyday I Pray For Love, David Zwirner Gallery, New York, NY
 4 January – 18 March 2020: Brilliance of the Souls, Maraya, AlUla
 4 April – 19 September 2020: Yayoi Kusama: "One with Eternity: Yayoi Kusama in the Hirshhorn Collection," Washington, DC
 31 July 2020 – 3 January 2021: STARS: Six Contemporary Artists from Japan to the World, Tokyo, Japan
 10 April – 31 October 2021: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY
 15 November 2021 – 23 April 2022: Yayoi Kusama: A Retrospective, Tel Aviv Museum of Art, Israel
 9 March 2023 – 11 February, 2024: Yayoi Kusama: LOVE IS CALLING, Pérez Art Museum Miami, Florida
 11 May – 21 July 2023: Yayoi Kusama: I Spend Each Day Embracing Flowers, David Zwirner Gallery, New York, NY

Permanent Infinity Room installations
 Infinity Dots Mirrored Room (1996), Mattress Factory, Pittsburgh, Pennsylvania
 Infinity Mirror Room fireflies on Water (2000), Musée des Beaux-Arts de Nancy, Nancy (France)
 You Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Art Museum, Phoenix, Arizona
 Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Art, Humlebæk, Denmark
 The Souls of Millions of Light Years Away (2013), The Broad, Los Angeles, California
 Infinity Dots Mirrored Room (2014), bontemuseum,본태박물관, jeju island KOREA</ref>
 The Spirits of the Pumpkins Descended into the Heavens (2015), National Gallery of Australia, Canberra
 Hymn of Life (2015), Henie Onstad Kunstsenter, Oslo, Norway
 Phalli's Field (1965/2016), Museum Boijmans Van Beuningen, Rotterdam, Netherlands
 Love is Calling (2013/2019), Institute of Contemporary Art, Boston, Boston, Massachusetts
 Light of Life  (2018), North Carolina Museum of Art, Raleigh, North Carolina
 Brilliance of the Souls (2019), Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia
 Infinity Mirror Room – Let's Survive Forever (2019), Art Gallery of Ontario, Toronto, Ontario

Peer review
 Applin, Jo. Yayoi Kusama: Infinity Mirror Room – Phallis Field. Afterall, 2012.
 Hoptman, Laura J., et al. Yayoi Kusama. Phaidon Press Limited, 2000.
 Lenz, Heather, director. Infinity. Magnolia Pictures, 2018.

Collections
Kusama's work is in the collections of museums throughout the world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; Walker Art Center, Minneapolis; Phoenix Art Museum, Phoenix; Tate Modern, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; Art Gallery of Ontario, Toronto; Utah Museum of Fine Arts, Salt Lake City, UT; and the National Museum of Modern Art, Tokyo and in the City Museum of Art in her home town of Matsumoto entitled The Place for My Soul.

Recognition

Kusama's image is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson.

In 2017, a fifty-year retrospective of Kusama's work opened at the Hirshhorn Museum in Washington, DC. That same year, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her work have been held at the Museum of Modern Art (1998), the Whitney Museum (2012), and the Tate Modern (2012). In 2015, the website Artsy named Kusama one of its top 10 living artists of the year.

Kusama has received many awards, including the Asahi Prize (2001); Ordre des Arts et des Lettres (2003); the National Lifetime Achievement Award from the Order of the Rising Sun (2006); and a Lifetime Achievement Award from the Women's Caucus for Art. In October 2006, Kusama became the first Japanese woman to receive the Praemium Imperiale, one of Japan's highest honors for internationally recognized artists. She received the Person of Cultural Merit (2009) and Ango awards (2014). In 2014, Kusama was ranked the most popular artist of the year after a record-breaking number of visitors flooded her Latin American tour, Yayoi Kusama: Infinite Obsession. Venues from Buenos Aires to Mexico City received more than 8,500 visitors each day.

Kusama gained media attention for partnering with the Hirshhorn Museum and Sculpture Garden to make her 2017 Infinity Mirror rooms accessible to visitors with disabilities or mobility issues; in a new initiative among art museums, the venue mapped out the six individual rooms and provided disabled individuals visiting the exhibition access to a complete 360-degree virtual reality headset that allowed them to experience every aspect of the rooms, as if they were actually walking through them.

According to Hanna Schouwink of David Zwirner Gallery speaking in 2018, Kusama is "officially the world's most successful living artist".

Art market
Kusama's work has performed strongly at auction: top prices for her work are for paintings from the late 1950s and early 1960s. As of 2012, her work has the highest turnover of any living woman artist. In November 2008, Christie's New York sold a 1959 white Infinity Net painting formerly owned by Donald Judd, No. 2, for US$5.1 million, then a record for a living female artist. In comparison, the highest price for a sculpture from her New York years is £72,500 (US$147,687), fetched by the 1965 wool, pasta, paint and hanger assemblage Golden Macaroni Jacket at Sotheby's London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the top price for one of her sculptures, also at Sotheby's in 2007. Her Flame of Life – Dedicated to Tu-Fu (Du-Fu) sold for US$960,000 at Art Basel/Hong Kong in May 2013, the highest price paid at the show. Kusama became the most expensive living female artist at auction when White No. 28 (1960) from her signature Infinity Nets series sold for $7.1 million at a 2014 Christie's auction.

In popular culture
 Superchunk, an American indie band, included a song called "Art Class (Song for Yayoi Kusama)" on its Here's to Shutting Up album.
 In 1967, Jud Yalkut made a film of Kusama titled Kusama's Self-Obliteration.
 In 2013, the British indie pop duo The Boy Least Likely To made song tribute to Kusama, writing a song specially about her. They wrote on their blog that they admire Kusama's work because she puts her fears into it, something that they themselves often do.
 Magnolia Pictures released the biographical documentary by Heather Lenz, Kusama: Infinity, in 2018 and a DVD version in 2019.
 Veuve Clicquot and Kusama created a limited-edition bottle and sculpture in September 2020.

References

External links

 Official Site
 YAYOI KUSAMA MUSEUM (English)
 Love Forever: Yayoi Kusama, 1958–1968, Museum of Modern Art
 How to Paint Like Yayoi Kusama
 Yayoi Kusama in the collection of The Museum of Modern Art
 [*Women Artists and Postwar Abstraction | HOW TO SEE the art movement with Corey D'Augustine, MoMA
 Phoenix Art Museum online
 Earth is a polka dot. An interview with Yayoi Kusama Video by Louisiana Channel
 BBC NewsNight Yayoi Kusama
 Why Yayoi Kusama matters now more than ever
 Yayoi Kusama art for the Instagram age
 Yayoi Kusama/artnet

1929 births
Living people
20th-century Japanese women artists
20th-century Japanese artists
21st-century Japanese women artists
21st-century Japanese artists
Feminist artists
Japanese installation artists
Japanese contemporary artists
20th-century Japanese sculptors
Kyoto City University of Arts alumni
Modern artists
Japanese pop artists
Recipients of the Order of Culture
Recipients of the Order of the Rising Sun, 4th class
Recipients of the Praemium Imperiale
Japanese people with disabilities
21st-century sculptors
Japanese women sculptors
People from Matsumoto, Nagano
Asexual women

Yayoi Kusama


Yeraltından Notlar (Rusça: Записки из подполья, Zapiski iz podpolya), Dostoyevski'nin, Camus dahil olmak üzere birçok Batılı düşünürü varoluşçu anlamda etkilemiş bir klasik olarak kabul edilen kısa romanıdır. 1864 yılında Sankt-Peterburg'da basılmıştır.

Yeraltından Notlar, gerçek dünyadan kendini soyutlamış veya buna zorunlu kalmış bir kişinin iç çatışmalarını ve hezeyanlarını ana eksen olarak belirler. Yeraltı Adamı'nın monoloğu ve ünlü "Ben hasta bir adamım." ifadesi ile romana giren Dostoyevski bu romanıyla sonraki döneminin büyük eserlerine bir giriş yapar.

Yeraltından Notlar, modernite eleştirileri için erken sayılabilecek bir yılda, 1864'te, Rusya'da köleliğin feshedildiği 1861'den üç yıl sonra basılır. Köleliğin kaldırılması ile Rusya'da yeni bir havanın estiği bilinmektedir. Ancak Dostoyevski'nin karakteri ayrı bir alemdedir. İçerdiği temalar Rus edebiyatına dışsal olarak görülse de Rus düşünsel yaşamına dışsal değildir, ancak çoğuna ters bir yanıttır. Dostoyevski'nin bu eserini Çernişevski'nin "Nasıl Yapmalı" adlı ütopik sosyalist eserine bir nevi cevap olarak yazdığı kabul edilir. Çernişevski'nin yine Petersburg'da geçen romanındaki iyimserliğin karşısında Yeraltı'nın karanlık gurultusunu seslendirir Dostoyevski.

Dostoyevski'nin Rus aydınına karşı seslendirdiği haklı sitem ve bunun getirisi olarak romana sinen kötümserce eleştirisi aslen yine Dostoyevski'nin "Rusluk" olarak tanımladığı Batı Hayranlığına karşıdır. Batılılaşma, modernizasyonun Rusya'da şehir olarak temsili olan Petersburg'un seçilmesi batılılaşma sorununu bir şekilde ele alan veya ona dokunan tüm romanların, hikâyelerin zorunluluğudur. Çernişevski'nin "Nasıl Yapmalı"sı gibi Gogol'ün ünlü "Palto"'su da St. Petersburg'u mekan olarak alır, keza Dostoyevski'nin bir sonraki romanı olan ve belki de en ünlü romanı olan "Suç ve Ceza"nın da mekanı St. Petersburg'dur.

Romanın ilk bölümü bu romanın ardından zamanla "Yeraltı Adamı" olarak tanınan karakterin itirafları, serzenişleri, hakaretleri, hayıflanmaları kısaca iç dünyası üzerine bir monologdur. Çevresindeki insanlardan tiksinen, nefretle insanları anan, insanları belki de hiç sevmemiş gibi görünen kapalı bir karakterin fazlasıyla açık ifadeleridir. İkinci bölümde ise Yeraltı Adamı'nın yeraltından bir anlık çıkışı ve daha önceden arkadaşı olduğu anaşılan kişilerle bir hesap görmeye çabalamasını izleriz.

Dostoyevski Yeraltından Notlar ile yeni çağına girer. Bu romanını takip eden "Suç ve Ceza" ile büyük ün kazanır. Suç ve Ceza ile Yeraltından Notlar arasında sürekli bir bağlantı kurma çabası vardır, ancak Suç ve Ceza büyük bir ahlak öğretisidir aynı zamanda, Yeraltı ise bu minvalde sert bir eleştiri olabilir ancak. Yazarın tarihi kendisini bu ahlâk kavgasında bularak başlamıştır.

Zeki Demirkubuz, 2012'de Yeraltından Notlar'dan serbest bir uyarlama olarak "Yeraltı" filmini çekmiştir.

Dış bağlantılar

 Yeraltından Notlar
 Yeraltından Notlar

1864 romanları
Dostoyevski romanları
19. yüzyıl Rus romanları
Rus felsefi romanları
Rusça romanlar
Klasik romanlar
Varoluşçu romanlar
Konusu Sankt Peterburg'da geçen romanlar
Sinemaya uyarlanmış Rus romanları
Fuhuş ile ilgili romanlar
Güvenilmez anlatıcı

Yeraltından Notlar


Hans Döring oder Hans Doering ist der Name folgender Personen:
* Hans Döring (Maler) (um 1483–1558), deutscher Maler
 Hans Doering (Mediziner) (1871–1946), deutscher Chirurg und Hochschullehrer
 Hans Döring (Politiker) (1901–1970), deutscher Politiker (NSDAP) und SS-Führer
 Hans Georg von Doering (1866–1921), deutscher Offizier und Kolonialbeamter
 Hans-Günther Döring (* 1962), deutscher Kinderbuchautor und -illustrator
 Hans-Joachim Döring (* 1954), deutscher Religionspädagoge
 Hans-Jürgen Döring (1951–2017), deutscher Politiker (SPD)
 Hans Karl Döring (1909–1978), deutscher Bildhauer

Siehe auch:
 Johann Döring

Hans Döring


جوناثان ماركس  هو عالم بيولوجيا و أنتروبولوجية في جامعة كارولينا في شارلوت  ، ولد عام 1955 ، درس في جامعة جون هوبكنز في بالتيمور، ماريلاند ، وحصل على درجات في الوراثيات والأنثروبولوجية من جامعة أريزونا ، وأكمل الدكتوراه في عام 1984 . وأجرى بحثاً بعد الدكتوراه في قسم الوراثيات أنهاه عام 1987 ، ثم درّس في جامعة يال لمدة عشر سنوات وفي جامعة بيركيلي لمدة 3 سنوات قبل أن يستقر في شارلوت حيث يعمل كأستاذ جامعي . و له كثير من المقالات والبحوث ويعد من مناهضي العنصرية العلمية المتحمسين وجادل من يعتبر العرق كتصنيف طبيعي.

أعماله المنشورة
 الأنثروبولوجية التطورية (1991) بالمشاركة مع إدوارد ستاسكي .
 التنوع البيولوجي الإنساني (1995) .
 ماذا يعني أن نكون 98% شامبنزي (2002) .

المراجع

أساتذة جامعة كاليفورنيا في بركلي
أشخاص على قيد الحياة
أعضاء هيئة تدريس جامعة ييل
خريجو جامعة أريزونا
خريجو جامعة جونز هوبكينز
علماء إنسان أمريكيون
مواليد 1955

خريجو جامعة كاليفورنيا (دافيس)
أعضاء هيئة تدريس جامعة كارولاينا الشمالية في شارلوت

جوناثان ماركس


Myanmar (tidligere Burma) deltog i de olympiske lege første gang under sommer-OL 1948 i London og har siden deltaget i alle sommerlege undtaget 1976, som nationen boykottede. Militærjuntaen, som styrer landet, ændrede i 1989 landets navn til det nuværende, og nationen har deltaget med sit nye navn fra og med sommer-OL 1992 i Barcelona. Myanmar/Burma har aldrig deltaget i vinterlegene, og nationen har aldrig vundet nogen olympiske medaljer.

Medaljeoversigt

Eksterne henvisninger
 Burmas OL-statistik  på Sports-reference.com

Burma ved sommer-OL
OL

Myanmar ved OL


وفاء عبد الرزاق هي شاعرة، قاصة وروائية عراقية من البصرة.

حياتها
حصلت على عدة جوائز من بينها جائزة «متحف الكلمة إسبانيا»، عن قصتها المسماة «أحلام مهملة» في مسابقة القصة القصيرة جداً، وجاء فوزها من بين 20 فائز، أختيرو من 35,000 ألف مشارك حول العالم، في سنة 2015، وحصلت على شهادة الدكتوراه الفخرية ودرع الفارابي من مجموعة الفارابي للتنمية والدراسات العليا عام 2014، حازت على المرتبة الأولى في جائزة «نازك الملائكة» للقصة القصيرة جدًّا عام 2012 في العراق، إلى جانب الجائزة الأولى للقصة القصيرة جدًّا عن قصتها التي تحمل عنوان «خارج عن القانون»، من طرف رابطة الأدباء العرب عام 2013، وقد حازت على جائزة الإبداع عن مؤسسة المثقف العربي، بمدينة سيدني الأسترالية عام 2011، بالإضافة إلى عدة جوائز أخرى.

اختيرت لنيل جائزة الأوسكار بسبب مشاركتها الشعرية والأدبية.

نشاطات
وفاء عبد الرزاق هي:
 مواليد العراق - البصرة.
 المملكة المتحدة - لندن.
 شاعرة وقاصة وروائية.
 رئيس ومؤسس رابطة الإبداع من أجل السلام، لندن.
 سفيرة النوايا الحسنة بالشرق الأوسط 2016.
 نائب رئيس البيت الثقافي العربي في الهند.
 نائب رئيس مجلة الحرف العلمية العالمية المحكمة الشاملة، الصادرة عن مركز الحرف للدراسات العربية في جامعة ستراتفورد الأمريكية، بالتعاون مع البيت الثقافي العربي في الهند.
 - مستشارة رابطة إبداع العالم العربي والمهجر، باريس.
 سفيرة أكاديمية للسرد العربي من مركز الحرف للثقافة العربية في جامعة ستراتفورد الأمريكية.
 عضو مجلس أمناء مؤسسة عرار العربية للإعلام.
 سفير جماعة عرار للأدب والثقافة والشعر العربي والنبطي والشعبي في لندن.
 نائب رئيس البيت الثقافي العربي في الهند.
 نالت شرف اختيارها سفيرة أكاديمية للثقافة العربية في العالم 2017، من مركز الحرف للدراسات العربية في جامعة ستراتفورد الأمريكية.

 تناول منجزها الأدبي من قبل نقاد كثيرين عبر دراساتها وقراءتها النقدية المنشورة في مختلف الصحف والمجلات الورقية والإلكترونية، كان آخرها كتاب المتخيل التعبير للدكتور نادر عبد الخالق. وكتاب فنتازيا النص للدكتور «وليد جاسم الزبيدي» وكتاب «الرقص على أوتار الألفاظ» علوان السلمان.
 نالت أعمالها الشعرية والقصصية والروائية العديد من الدراسات وشهادات التخرج وأطروحات الدكتوراه والماجستير. ودرجة الأستاذية، والدكتوراه الدولية.

تكريمها

 حازت على جائزة (متحف الكلمة إسبانيا) عن قصتها (أحلامٌ مهملة) في مسابقة القصة القصيرة جدًا، ضمن 20 مشاركة فائزة من 35000 الف مشارك حول العالم، 2015
 حازت على تكريم من الدكتور مازن المسعودي ممثل الجامعة العربية في الهند 2015.
 حازت على تكريم من السفارة العراقية دلهي الهند 2015.
 حازت على تكريم من جامعة افري باريس، 2016.
 حازت على تكريم من جامعة المللية الاسلامية دلهي الهند 2015.
 حازت على تكريم من جامعة جواهر لالنهرو دلهي الهند 2015.
 حازت على تكريم من جمعية المترجمين و اللغويين المصريين مع عضوية شرف في حفل تم برعاية الدكتور حسام الدين مصطفى رئيس الجمعية.
 حازت على تكريم وعضوية شرف من النادي الأهلي، البحرين.
 رُشحت سفيرة للنوايا الحسنة من قبل المؤسسات الثقافية المدنية غير الحكومية ونخبة من المثقفين والمبدعين الملتزمين بقضايا الإنسان والإبداع.
 نالت شهادة الدكتوراه الفخرية ودرع الفارابي من مجموعة الفارابي للتنمية والدراسات العليا 2014.
تم تكريمها من جامعة افري ـ باريس، 2016.
 تم تكريمها من البيت الثقافي العربي في الهند 2014.
 تم تكريمها من قبل العديد من المؤسسات الثقافية العالمية والعربية والعراقية.
 حازت على المرتبة الأولى لجائزة نازك الملائكة للقصة القصيرة جدًا 2012 العراق.
 حازت على الجائزة الأولى للقصة القصيرة جدًا عن قصتها (خارجٌ عن القانون) من رابطة الأدباء العرب 2013.
 كُرِمَتْ من جامعة ابن زهر، أغادير، المغرب 2012.
 كُرِمَتْ من جامعة واسط العراق 2012.
 اُختِرَ ديوانها «مدخل إلى الضوء» ضمن المناهج الدراسية لكلية الآداب، جامعة ابن زهر، المغرب، من قبل الدكتور عبد السلام فزازي بعد تقديمه للديوان 2012.
 كُما اختِرت سفيرة للسلام من قبل مؤسسة المثقف العربي لعام 2012.
 فازت بجائزة الإبداع عن مؤسسة المثقف العربي، سيدني، إستراليا لعام 2011 عن منجزها الأدبي.
 كُرِمَتْ من جامعة زايد، أبو طبي، الإمارات العربية المتحدة 2011.
 أصدرت لها مؤسسة المثقف العربي، سيدني، إستراليا، كتاب تكريم 2011.
 حازت على تكريم من وزارة الثقافة العراقية 2011.
 حازت على شهادة تقدير من مؤسسة المثقف العربي، سيدني، إستراليا 2010.
 كُرِمَتْ من مؤسسة المثقف العربي، سيدني، أستراليا، 2010.
 فازت بجائزة نازك الملائكة عن قصيدة بيت الطين 2010.
 *- حازت مجموعاتها القصصية بنيل شهادة الماجستير جامعة تكريت 2014.
 حازت روايتها (حاموت) على جائزة أكيودي العالمية في الصين 2014.
 حازت على ميدالية اتحاد الكتاب المصري شعبة الطفل، الإسكندرية، مصر 2010.
 حازت على تكريم من جريدة جريدتي للأطفال القاهرة 2010 .
 حاز ديوانها (أدخلُ جسدي أدخلكم) على شهادة الماجستير جامعة واسط كلية التربية قسم اللغة العربية 2015.
 حازت روايتها أقصى الجنون الفراغ يهذي بنيل شهادة التخرج من جامعة تبسة الجزائر 2013.
 حازت روايتها السماء تعود إلى أهلها على نيل أطروحة الدكتوراه جامعة بن زهر أغادير 2013.
 حازت مجموعاتها الشعرية بنيل شهادة الماجستير من جامعة واسط العراق 2013.
 حاز ديوان «من مذكرات طفل الحرب» على أن يكون موضوعاً لنيل شهادة الإجازة في الأدب العربي بجامعة تبسة الجزائر 2009 .
 حاز ديوان «من مذكرات طفل الحرب» بعد ترجمته إلى اللغة الفرنسية «دار لارمتان» فرنسا في مشروعها السنوي «من القارات الخمس» على أن يكون ضمن من يمثل قارة آسيا تحت إشراف البروفسور فيليب تومسيان.
 حاز ديوان «اِمنحُني نفسي والخارطة» على أن يكون أطروحة تخرج من جامعة ابن زهر كلية الآداب والعلوم الإنسانية، أغادير، المغرب 2009 - 2010.
 حازت على الجائزة الأولى بمسابقة القصة القصيرة «مؤسسة أور الثقافية الحرة» العراق عن قصتها «أربع أقدام وسطح» 2009.
 حازت على الجائزة الذهبية – الملتقى الثقافي العربي، مصر عن قصتها «الجثث تشرب العصير» 2009.
 * حازت على الجائزة الثالثة – اتحاد الأدباء العراقي النجف مسابقة القصة القصيرة عن قصتها «عقابٌ أم ثواب» 2009.
 * حازت على جائزة المتروپوليت نقولاوس نعمان للفضائل الإنسانيَّة لبنان 2008 عن مخطوطها المعنون (من مذكرات طفل الحرب).
 * حازت على جائزة (قلادة العنقاء الذهبية للإبداع) عن (مهرجان العنقاء الذهبية الدولي) العراق لعام 2008.
 حازت على وسام الوفاء (نادي ثقافة الأطفال الأيتام) من (النخلة البيضاء) 2008 العراق.
 * حازت على تكريم من الديوان الثقافي العراقي – لندن 2008.
 * حازت على تكريم من مؤسسة النور الثقافية – العراق – السويد 2008.

مشاركات
 مستشار رابطة إبداع العالم العربي والمهجر في المملكة المتحدة.
 عضو في حركة شعراء حول العالم، تشيلي.
 عضو مؤسس في مؤسسة رسول الأمل، لندن.
 عضو في رابطة الأدباء العرب مصر.
 عضو في منظمة كتاب بلا حدود ألمانيا.
 عضو في منتدى الكتاب المغتربين لندن.
 عضو في الاتحاد العام للأدباء والكتاب في العراق.
 عضو إداري في المنتدى العراقي لندن، ومسؤولة اللجنة الثقافية (سابقًا).
 (تحرير جريدة المنتدى) لندن سابقًا.
 عضو في الملتقى الثقافي البحرين.
 عضو في الملتقى الثقافي العراقي سوريا.
 عضو في جمعية الشعراء الشعبيين العراق.
 عضو في منتدى القصة السورية سوريا.
 عضو في اتحاد كتاب الإنترنت العرب.
 شاركت في تأسيس (غاليري النخلة البيضاء) و (دار النخلة البيضاء لرعاية وتأهيل أطفال الشوارع) العراق.

أعمال
 نشرت في العديد من الصحف والمجلات العربية
 تُرجمتْ بعض الأعمال إلى اللغات الإنجليزية والفارسية والفرنسية والإيطالية والتركية والإسبانية والألمانية.
 ساهمت في العديد من المهرجانات الشعرية والأمسيات الثقافية عربياً وعالمياً.
 شاركت في مهرجان السلام العالمي للشعر، فرنسا.
 ترجمت بعض الأعمال الشعرية إلى اللغة الفرنسية في موسوعة السلام العالمي للإبداع.
 ترجمت أشعار (من مذكرات طفل الحرب) إلى اللغة التركية ضمن موسوعة السلام للطفل.
 ترجمة ديوان (من مذكرات طفل الحرب) إلى اللغة الفرنسية أنجزتها المترجمة هادية الدريدي مع مراجعة من جوزيان دو جازو- بيرجيه ومحمد الرفرافي، وصدرت تحت عنوان Mémoires de l'enfant de la guerre عن دار النشر «لارماتان» الفرنسية L'Harmattan في ديسمبر/ كانون أول 2008.
 ترجمة نفس ديوان (من مذكرات طفل الحرب) إلى الفرنسية، الإنكليزية، الإيطالية، الفارسية، الإسبانية.

أعمال إبداعية

أ – إصدار صوتي:
 CD سي-دي شعر، إلقاء وموسيقى شعر شعبي.
ب – الشعر الفصيح:
 1- هذا المساءُ لا يعرفني، مؤسسة الانتشار العربي، لبنان 1999.
 2- حين يكون المفتاحُ أعمى، مؤسسة الانتشار العربي، لبنان 1999.
 3- للمرايا شمسٌ مبلولة الأهداب، دار الكندي،الأردن 2000.
 4- نافذة فلتت من جدران البيت، منشورات بابل، العراق 2006.
 5- من مذكرات طفل الحرب، دار نعمان للثقافة، لبنان 2008.
 6- حكاية منغولية، دار نعمان للثقافة، لبنان 2008
 7- من مذكرات طفل الحرب باللغة الفرنسية، دار لارمتان، فرنسا.
 8- اِمنحُني نفسي والخارطة، دار كلمة، مصر 2009.
 9- طبعة ثانية، من مذكرات طفل الحرب، دار كلمة، مصر 2009.
 10- البيتُ يمشي حافيا، دار كلمة، مصر 2010.
 11- من مذكرات طفل الحرب، طبعة ثالثة، مصر 2010.
 12- حكاية منغولية، طبعة ثانية، دار كلمة، مصر 2010.
 13- من مذكرات طفل الحرب باللغة الإسبانية المغرب 2010.
 14- اٌدخل جسدي أدخلكم، مؤسسة المثقف العربي، سيدني – أستراليا، ودار العارف بيروت – لبنان 2012.
 15- مدخل إلى الضوء، مؤسسة المثقف العربي، سيدني – أستراليا، ودار العارف بيروت – لبنان 2012.
 16 - صمغٌ أسود، مؤسسة المثقف العربي سيدني أستراليا-دار العارف لبنان 2015.
 17- أشك حتى، مؤسسة المثقف أستراليا، ودار العارف لبنان 2016.
 18- من مذكرات طفل الحرب باللغة الفارسية، دار مونوطيقيا، عبدان، إيران.
 19- من مذكرات طفل الحرب باللغة الآيطالية، دار اريانا، إيطاليا 2016.

ج- في الشعر الشعبي:
 1- أنا وشويــَّة مطر، دار الكندي، الأردن 1999.
 2- وقوَّسَتْ ظهر البحر، دار الكندي، الأردن 1999.
 3- مزامير الجنوب، دار الموسوي، أبوظبي 1996.
 4- تبللت كلَّي بضواك، دار كلمة، مصر 2010.
 5- عبد الله نبتة لم تُقرأ في حقل الله، دار كلمة مصر 2010.
 6- بالقلب غصّة، غضة أولى، دار كلمة مصر 2010.
 7- بالقلب غصَّة، غصَّة ثانية، دار كلمة، مصر 2010.
 8- حزن الجوري، ضمن المجموعة الكاملة بالقلب غصة، غصة أولى 2010 دار كلمة مصر.

د - الروايات:
 1- بيتٌ في مدينة الانتظار، دار الكندي، الأردن 2000.
 2- تفاصيل لا تُسعف الذاكرة، دار الكندي،الأردن 2001.(رواية شعرية).
 3- السماء تعود إلى أهلها، دار كلمة، مصر 2010.
 4- أقصى الجنون الفراغ يهذي، دار كلمة، مصر 2010.
5- حاموت، دار العارف لبنان 2014.

6- الزمن المستحيل، دار العارف، لبنان 2014.

7- رقصة الجديلة والنهر، دار العارف لبنان 2016.

هـ - مجاميع قصصية:
 1- إذن الليلُ بخير، دار الكندي، الأردن 2000.
 2- امرأةٌ بزيّ جسد، دار كلمة، مصر 2009.
 3- نقط، دار كلمة، مصر 2010.
 4- بعضٌ من لياليها، دار كلمة مصر 2010.
 5- امرأة بزي جسد في اللغة الفرنسية المغرب 2010. (مطبعة أنفو برانت).
6- في غياب الجواب، قصص قصيرة دار العارف لبنان 2013.

7- أغلالٌ أخرى، قصص صيرة جدًا، دار العارف لبنان 2013.

8- وجوه أشباح أخيلة، قصص شعرية، دار العارف لنان 2013.

9- الآخرون، دار ليندا، سوريا 2017.

مجموعة قصصية مشتركة:
 بقعة ارتجاف حُرّة (مشروع قصصي شعري فني مشترك، الكاتبة سعاد الجزائري قصص قصيرة، وفاء عبد الرزاق شعر، الفنانة عفيفة لعيبي رسم. فكرة العمل محاكاة المجموعة القصصية للكاتبة سعاد الجزائري شعريًا وفنيًا، ويشمل الكتاب لكل قصة قصيدة ولوحة).

مخطوطات
الشعر الشعبي:
 1- ترنيمة الفراشات.
 2- ناياتٌ لها شكلي.
 3- انتماءات لوجع المطر.
 4- براويز.
قصص:
 4- المتحولون، قصص قصيرة.
 4- وفائيَّات، بوح حر.
 5- لا تُرثى قامات الكرستال، شعر.

كتب عنها
 تناول منجزها الأدبي من قبل نقاد كثيرين عبر دراسات وقراءات نقدية منشورة في مختلف الصحف والمجلات الورقية والإلكترونية، كان آخرها كتاب المتخيل التعبير للدكتور نادر عبد الخالق.
 نالت أعمالها الشعرية والقصصية والروائية العديد من الدراسات وشهادات التخرج وأطاريح الدكتوراه والماجستير.

الترجمات
 1- تُرجمتْ بعض أعمالها الشعرية والقصصية إلى اللغة الإنجليزية والفارسية والفرنسية والإسبانية والإيطالية والتركية والكردية والألمانية.

الترجمات:

1- تُرجمتْ بعض أعمالها الشعرية والقصصية إلى اللغة الإنجليزية والفارسية والفرنسية والإسبانية والإيطالية والتركية الكردية. والألمانية. والصربية.

2- تُرجمت بعض أعمالها الشعرية إلى اللغة الفرنسية في موسوعة السلام العالمي للإبداع .

3- تـُرجمت بعض نصوص (من مذكرات طفل الحرب) إلى اللغة التركية ضمن موسوعة السلام للطفل.

4- تُرجم ديوان (من مذكرات طفل الحرب) إلى:

أ - اللغة الإنكليزية، ترجمة الشاعر يوسف شغري، سوريا.

ب - اللغة الفرنسية، ترجمة السيدة هادية دريدي – فرنسا.

ج - اللغة الإسبانية، ترجمة السيدة ميساء بونو، المغرب.

د - اللغة الإيطالية، ترجمة د أسماء غريب، إيطاليا.

ه - ترجم إلى اللغة الفارسية، ترجمة دكتور رسول بلاوي ومريم حاجي زادة. عبدان، إيران.

5 - تُرجمت المجموعة القصصية «امرأة بزي جسد» إلى اللغة الفرنسية، ترجمها الأديب محمد نصرافي، المغرب 2010.

المساهمات:

1- نشرت في العديد من الصحف والمجلات العربية.

2- ساهمت في العديد من المهرجانات الشعرية والأمسيات الثقافية عربياً وعالمياً .

3 - شاركت في مهرجان السلام العالمي للشعر، فرنسا .

4- قامت بعدة نشاطات كسفيرة للسلام عن مؤسسة المثقف العربي، سيدني – إستراليا.

المساهمات
 1- نشرت في العديد من الصحف والمجلات العربية.
 2- ساهمت في العديد من المهرجانات الشعرية والأمسيات الثقافية عربياً وعالمياً .
 3 - شاركت في مهرجان السلام العالمي للشعر، فرنسا.
 4- قامت بعدة نشاطات كسفيرة للسلام عن مؤسسة المثقف العربي، سيدني – إستراليا.

مراجع

أشخاص على قيد الحياة
أشخاص من البصرة
شاعرات عراقيات
شعراء بصريون
شعراء شعبيون عراقيون
شعراء عراقيون في القرن 20
شعراء عراقيون في القرن 21
شيعة عراقيون
كاتبات عراقيات في القرن 20
كاتبات عراقيات في القرن 21
كتاب عراقيون في القرن 20
مهاجرون عراقيون إلى المملكة المتحدة
مواليد 1952
مواليد في البصرة

وفاء عبد الرزاق


Presidential elections were held in Slovakia on 3 April 2004, with a second round on 17 April. Although former Prime Minister Vladimír Mečiar received the most votes in the first round, he was defeated by Ivan Gašparovič in the run-off.

Eduard Kukan, who had led the opinion polling prior to the elections, was surprisingly eliminated in the first round, narrowly beaten into third place by Gašparovič. Gašparovič later admitted that he had not expect to qualify for the second round, and on first round election night he had gone home to sleep and only found out about his success when he was woken up by phone calls from friends.

Incumbent president Rudolf Schuster finished fourth with just 7% of the vote. He subsequently retired from politics.

Opinion polls

Results

References

Presidential elections in Slovakia
Slovakia
Presidential election
April 2004 events in Europe

2004 Slovak presidential election