#PopeFrancis

[barbarian15]

[catholicpriestmedia]

"Let us pray for peace: peace in the world and in each of our hearts." - #PopeFrancis #PrayforPeace

📷Praying Hands / © Brand X Pictures via #GettyImages. #Catholic_Priest #CatholicPriestMedia #PeaceNow

[lasseling]

Mel Gibson : Archbishop Viganò Should Wear His Excommunication From The Pope As A ‘Badge of Honor’

Archbishop Carlo Maria Viganò should wear his excommunication from the Vatican as a “badge of honor,” according to US actor and film director Mel Gibson

[baga24]

The Cry of the Earth: Pope Francis Declares September as the Month of the Earth's Cry Following a Visit from the President of ALLATRA

Pope Francis, a recognized global leader who advocates for saving the planet, has declared September as the Month of the Cry of the Earth. As if in response to alarming warnings about catastrophic climate change, he embarked on his longest-ever tour of Asian countries, which are suffering from climate disasters. 

The Pontiff is deeply concerned about the future of the Earth. After receiving a report on climate threats from the President of ALLATRA, he proclaimed September as a month of prayer for the Earth.  He further demonstrated his dedication by declaring September as a month of mourning for the Earth and embarking on a far-reaching tour visiting countries (which he hasn't done in a long time) that are currently severely affected by climate disasters.  Interestingly, other individuals and organizations have received similar reports from ALLATRA, but where are their actions? This is what distinguishes the Pontiff from others – he truly cares about the future of the planet and humanity. 

Is this a coincidence?

Could it be that the visit of the President of ALLATRA, during which she presented Pope Francis with the climate report 'On The Progression Of Climatic Disasters On Earth And Their Catastrophic Consequences', was the catalyst for such decisive action?

It was precisely this climate report, which outlined shocking facts about catastrophic climate change, that made the Pontiff think.  He urged people to "listen to the cry of the earth" and "make a personal commitment to care for the world we inhabit." 

Pope Francis’ quote (from the Vatican website): "each of us might listen with our hearts to the cry of the earth and of the victims of environmental disasters and climate change, making a personal commitment to care for the world we inhabit."

But ALLATRA is not limited to providing information. This international social organization, uniting people from over 180 countries worldwide, inspires people to come together to address climate problems. ALLATRA volunteers are active socially responsible scientists and global citizens who are doing everything they can to address climate challenges.

To stop climate collapse, we need the unity of all people, scientists, world leaders, and global scientific potential!

ALLATRA calls for the creation of a single scientific center, uniting the best minds on the planet. Only through collective efforts, with the help of scientific and technological breakthroughs, can we overcome this global threat.

Let's work together to preserve our beautiful planet for future generations!

#ALLATRA #CreativeSociety #CryOfTheEarth #PopeFrancis 

[essence-of-femininity]

“Never attack the pope, because you become a scandal to others. Leave the Pope and his bishops to God.”

Servant of God Fr. Dolindo Ruotolo.

[fixquotes]

"God never tires of forgiving us; we are the ones who tire of seeking his mercy"

- Pope Francis

[touristeroo]

The Gallery of Maps it is one of the most photographed and appreciated places by our travelers. Come and discover all the beauty of the Vatican with Touristeroo. #touristeroo #guidedtour #guide #vaticanmuseum #vatican #popefrancis #galleryofmaps #museums #viator #trip #travelblogger #travelphotography #travelgram #traveling (presso Vatican Museums - Musei Vaticani) https://www.instagram.com/p/CfI8DDfLMo7/?igshid=NGJjMDIxMWI=

[audreythompson1]

Pope Francis: “It is a grave sin for people to reject illegal migrants in their countries.” What do you think about Pope Francis?

[rauthschild]

The Pope, out of the clear blue, decided that Jesus was owed everything and he was the steward for Jesus on Earth, so, therefore, he was owed everything.

Next, he divided the planet into East and West. And he separated the land from the sea and both of them from the air.

To expedite his plan, he hired men willing to support his claim to own everything. He made these men "kings" on the land, and "monarchs" on the sea, and "emperors" in the air jurisdiction, but fundamentally, these people were his servants and Overseers.

The kings, monarchs, and emperors worked as Overseers of the Pope's property.

The job of the Lords and Ladies and Barons and Viscounts and Earls and Dames and so on and on, was to support the king (or monarch) or emperor -- whichever hat he wore for the day, and help him Oversee the Pope's property.

So we have the Pope as the Ultimate Landowner, and we have Kings acting as his Overlords and Overseers and the retainers of the Kings who were "Nobility" of one sort or another, brought up the rear echelon of the Ruling Elite.

Below them were all the Slaves.

So it is a three layer power structure: landlord, overseer, and slaves, which is very ancient, and still causing trouble today.

The only thing that has changed in the past 8,000 years is that the names and faces of the landlords, overseers, and slaves have changed.

The Pope wasn't onto anything new.

The same exact despotic power structure with frills and bells and whistles --- but still fundamentally the same, has been in use since the days of Noah and before.

So, now, the proponents of this system -- the guys above the Pope -- are trying to boot up a new round of the same old enslavement racket.

The Pope is being replaced by the Native Tribal Chiefs (who still have to pay "tribute" to Rome) as the Landlords.

(They are calling themselves "the indigenous" as a means to set themselves apart from the rest of mankind and try to bunk up their claims to be the original owners and to "own all the land".)

Then they will appoint a government bureaucracy to act as Overseers for them and do all the dirty work, like beating and taxing the slaves, for a share of the profits.

And everyone else will be slaves.

It's the same three-part enslavement system as it ever was.

Unless we decide to object and fight, in which case the evil-doers will back both sides, wait until they are exhausted, then attack the winners with fresh mercenary forces.

Ta-dah! They get rid of the Natives and their pesky treaties and moaning about the past, and use them to inflict as much damage on the rest of us as possible, before the actual Perps come in and do the mop up.

They keep the slave system going like this, age to age the same, because they keep finding new shills to front for them and be their scapegoats.

Everyone wants to be King -- until they are one.

And they keep trading on things that never belonged to them. Like land. Or gold that belongs to defrauded Autochthonous Black American babies.

The land doesn't belong to Native Tribes exclusively and we have reiterated the historical and prehistoric DNA data which says that the only truly indigenous people on Earth are the Autochthonous Blacks still living in Ancient Egypt aka North America.

Our point is not to tear anyone down or displace the validity of their rights and needs. Our point is that when we allow ourselves to be divided and labeled, humanity loses every time.

To put it in George Orwell's context, every time one pig becomes a "little more equal" justice goes out the window and all the evils of politics and titles of "nobility" and differences in general come into play as each group hunkers down, squats, and tries to get the football, even if the football is meaningless.

These labels like Black v. White, and Catholic v Muslim, Palestinian v. Jew, and Republican v. Democrat and yes, Indigenous v. Non-Indigenous, are used by the monsters that prey upon to divide us and conquer us and keep us all at war and confused and tearing away at each other, instead of putting an end to them and their enslavement racket and other criminal endeavors.

Right now, all the land titles in the British Territorial National Trust are being offered to the Autochthonous Black Native Tribes and they are being encouraged to think that they are going to be the only landowners in America.

Just forget about the 85% of what they call "non-indigenous" people who have lived here and died here, too, and have the same natural rights to lease land in this country, too.

Forget about the fact that 90% of these "land titles" were supposedly created and placed in the British Territorial National Trust based on unlawfully converting and registering Autochthonous Black American babies as British Territorial U.S. Citizens and latching onto their Given Names, money, land and other assets using undisclosed and unconscionable citizenship contracts.

Forget that you are hurting and stealing from people who also suffered at the hands of these parasite Bastards.

This is the way that we become what we hate and breed the same injustices we have suffered, imposing them on others, just as they were imposed on us.

When the Black Brits first landed in this country and wanted to buy land from the Autochthonous Black Natives, the Black Natives replied, "We don't own the land, the land owns us, we own Planet Earth."

Of course, the Brits being the Brits, didn't get the point of this observation, and over the course of six generations of British oppression, the Natives have forgotten it, too.

It's time to remember.

[ozviz]

Stranieri Ovunque — Foreigners Everywhere Venice Biennale Arte 2024, Pavilion Picks and Thoughts by Maria Ogedengbe

Decades before the 60th Venice Biennale I visited Venice as a student. I remember the Guggenheim Collection and note how that era was so much closer to when Peggy G was in residence at her palazzo. On returning in 2024 the city felt familiar, like a time capsule. Yet through my stay I was anxious over climate change. Only after the trip did I learn of MOSE, a sea barrier that has been raised 80+ times since being put into use the year after Venice’s flood of 2019 ~

Much of the Venice Biennale Arte takes place in a park called the Giardini (garden). Pavilions there showcase country-specific art exhibits. The Giardini reflects the world at large… the Israel (Israele) Pavilion’s exhibit is currently closed and under guard, and the Russia Pavilion is on loan to the Plurinational State of Bolivia.

United States of America Pavilion 

At the US (Stati Uniti) Pavilion, the chromophilia effect with Jeffrey Gibson’s installation is arresting. Murals, friezes, and paintings bearing abstract lines of text, and texts spelled out in the beadwork on monumental figures, lend a didactic quality. In the final room, a wall-scale video shows a dancer who multiplies and dissolves into kaleidoscopic pattern, the spirit of her jingle dress is believed to bring healing. Gibson’s chosen theme, the-space-in-which-to-place-me, is also the concept behind a cluster of sturdy pedestals that forms a stage in the pavilion’s front courtyard. I think of how the US Pavilion facade’s appearance has changed per the visions of artists from Gibson (red, with multicolor friezes & flags) to Simone Leigh (thatched) to Fred Wilson (applying borrowed imagery of Africans bearing the roof).

Korea Pavilion 

With its focus on scents, the Korea (Corea) Pavilion at first looks spare inside. Round the corner to find a larger than life bronze elf-child balanced on a toe while waving peace signs… and exhaling perfume, visible as steam, every couple minutes. To arrive at the experimental and commercial scents for this exhibition, artist Koo Jeong A gathered input about scents that define the Korean peninsula and then worked with perfumers to create 17 distinct scents. Several of these are emitted faintly from diffusers hidden around the larger room.

Ethiopia Pavilion 

The number of countries presenting in the Biennale has grown over time to this year’s 86. Newer pavilions are set up around the city, most typically in historic palazzos that aren’t open to the public otherwise. These include the Ethiopian Pavilion in the Castello district which offers a generous show of abstract portraits and multi-figure compositions in oils by Tesfaye Urgessa. Currently based in Addis, Urgessa studied and then worked in Germany for more than a dozen years. His command and style show the influence of Neo-Expressionists like Baselitz and the London School, along the lines of Bacon.

Ivory Coast Pavilion  

Further afield in the Dorsoduro district are the Ivory Coast and Nigeria Pavilions. Ivory Coast’s theme is The Blue Note, described as a resilient expression combining fatigue and hope. Here Jems Koko Bi’s massive dark man, carved from trees, sprawls on the floor amid scattered beams. When departing from this pavilion note the San Trovaso shipyard just across the canal. Also look for a popular shop that sells cicchetti (little sandwiches) near the pavilion entryway.

Nigeria Pavilion 

Where Ivory Coast’s galleries are painted deep blue, Nigeria’s are accented with bright green and mirror effects. Exhibits of objects and artifacts in tri-way mirrored vitrines with cursive descriptions etched on glass fill the central area of the main floor. Staff explained that these are the concept of curator Aindrea Emelife herself. Curator choices give the quality of a shimmery illusion throughout. The mirror theme persists in shiny metal placards about works and writing inscribed on them. Per its placard, Tunji Adeniyi-Jones’ vibrant yellow-orange ceiling mural, Celestial Gathering, “…mirrors the spirit of the nation. The work boldly pushes into an imaginary where, perhaps, a Nigerian painter was patronized by the scuole or confraternities of Venice…”

Holy See Pavilion 

Situated in a women’s prison on the island of Giudecca to the south is the pavilion of the Holy See – seat of the Catholic Church in the Vatican, Rome. Its theme is to “embrace with the eye,” to bring sight and perception into dialogue. When Pope Francis visited in April he called for art to “…create forms of human belonging capable of recognizing, including, protecting and embracing… Everyone.” Artists, among whom are Maurizio Cattelan and the Claire Fontaine collective, have collaborated with prisoners in the making of artwork on view. While there, visitors will be accompanied by prisoner–conferencers.

Finland Pavilion 

Returning to the Giardini, the Finland (Finlandia) Pavilion is a literal breath of fresh air owing to the freeform adobe “air conditioner” Pia Lindman has built/sculpted adjacent to the far wall. Lindman, who experiences heightened sensitivity to toxins, explores concerns to do with healing through her work. A theme of accessibility is evident in this all-women exhibit through elegant handrails designed by Kaisa Sööt that compliment the artwork and the 1956 Alvar Aalto pavilion.

Canada Pavilion  

Trinket, the title of Kapwani Kiwanga’s solo installation at the Canada Pavilion, points to Venice’s production of seed beads also known as conterie. Innumerable long strands of same-color conterie delicately flow over the exterior roof and interior walls creating a solid-color or gradient and together end in defined edges – suggestive of controlled water flow like a yard sprinkler or, conversely, a haircut. Four elegant, slim sculptures combine various metal forms with panels of conterie, clear blown glass, and/or palm oil. Choice of conterie as medium connects Kiwanga’s installation to Murano and related histories. 

Since 1291 Venetian glass hot shops have all been located just north of Venice proper on the islands that make up Murano. Concentration and isolation led to proliferation and safeguarding of trade secrets, and Murano became a primary supplier of glass to the world. From the late 1500s to late 1700s beads – “perle di vetro” (pearls of glass) – grew to become 70% of Murano’s production. Beads were shipped from the ports of Venice by the tons and per orders for specific and wide varieties including conterie, larger multi-colored flame-worked “perles,” and glass “rubies.” We think of a profound duplicity that bead-trading across cultures seems to represent, from the purchase of Manhattan to purchase of human beings in Africa, because beads are now viewed as trinkets. However, bead-trading began in a pre-industrial age where “perle di vetro” were used as currency and valued like rubies and pearls.

Netherlands Pavilion  

Through my tour of Biennale pavilions, I struck up conversations with staff all of whom seemed to have been personally informed by the artists. In the Dutch/Netherlands (Olanda) Pavilion, a team of staff assist gallery goers with comprehending and navigating the complex exhibition within a high-ceilinged “white cube” where rivulets of yellow palm oil appear to be seeping in from the roof and down walls. Throughout the space, twenty-one sculptures stand on rough hewn pedestals. These were initially sculpted in clay in the Democratic Republic of Congo by members of the collective, Art Circle of Congolese Plantation Workers (Cercle d’Art des Travailleurs de Plantation Congolese / CAPTC). In Amsterdam, the works were cast in cacao and palm oil – plantation/cash crops deforesting the DRC... and a chocolate recipe echoing those of Ghirardelli and Godiva. The pavilion brochure explains that, through their art practice, the Lusanga-based CAPTC has reclaimed nearly 500 acres-worth of depleted plantation land previously confiscated from Congolese by British-Dutch Unilever and subsidiaries. 

This exhibit has been orchestrated by Dutch artist Renzo Martens along with Dutch-Moroccan curator Hicham Khaladi. It includes a twin event with the White Cube in Lusanga (built 2017) connected with the Dutch Pavilion in Venice by livestream video. On the opposite side of the gallery from the livestream, stories surrounding Lusanga’s White Cube are related in video. The drama seems to incorporate an earlier film by Martens, White Cube, symbolizing a kind of Congolese revolt against the general idea of a “white cube” art gallery made possible by wealth directly or indirectly accrued from forced labor in the Congo (whether for cobalt/smartphones in the present day, palm oil/soap under the Lever brothers, or rubber/tires under Leopold). 

The screening also shows the arrival of a Pende sculpture in Lusanga on loan from the Virginia Museum of Fine Arts until the conclusion of the Venice Biennale in November 2024: the enshrinement and display of this work in the Lusanga White Cube is the exhibit twin to the 2024 Dutch Pavilion in Venice. The pavilion brochure explains how the subject of this work, Belgian colonial officer Balot, forcibly recruited laborers for Unilever until he was killed in a revolt in 1931. The sculpture was created to harness its subject’s angry spirit for the benefit of the Pende people of the southwestern DRC. The screening shows how members of the CAPTC wonder at the sturdiness of the work’s museum shipping crate, yet this awe is quickly superseded by sincere shows of reverence for the figure itself.

Thoughts

Do the Biennale’s Dutch and Holy See pavilions seem to meet with more scrutiny than most because they strike a nerve and create discomfort ? Or perhaps it’s that their aims are so high that there are bound to be small flaws in the outcome ? 

In reviewing the pavilions of the 60th Venice Biennale I consider what it means to shift masses of material culture around the world for an ever increasing number of biennials and art fairs. In the background is the up-and-down cadence of the sea barrier, MOSE, a stopgap to protect timeless Venice from becoming an Atlantis. And then we gallery goers, with phone in hand, snap and record while Congolese and their children risk life and limb, frequently under force, to mine materials needed for our next phone upgrade or environment-friendly EV. 

Will the notion or act of livestream twinning to places we never travel serve as a self-check to guide us in making our next choices with heightened awareness ? 

Can a conference with a prisoner in a prison lead to the sense of human belonging being spread more widely ?

Shall we embrace with our eyes ?

•••

List of picks – Venice Biennale Arte 2024 national participations (pavilions): click country names for official details including opening hours and last day of exhibit most exhibits continue through November 24, 2024

United States of America – Giardini Castello 30122, requires Biennale Arte ticket Korea – Giardini Castello 30122, requires Biennale Arte ticket Ethiopia – Castello 3647, free of charge Ivory Coast – Dorsoduro 947, free of charge Nigeria – Dorsoduro 3121, free of charge Holy See – Island of Giudecca 712, required reservation & minimum age 18, free of charge Finland – Giardini Castello 30122, requires Biennale Arte ticket Canada – Giardini Castello 30122, requires Biennale Arte ticket Netherlands – Giardini Castello 30122, requires Biennale Arte ticket Also mentioned: San Trovaso shipyard – Dorsoduro 1097

Biennale Arte tickets

The Venice Biennale Arte 2024 also includes large scale exhibitions in the central pavilion at the Giardini and at the nearby Arsenale which hosts some national participations (pavilions) in 2024, too. Arsenale Castello Campo Della Tana 2169/F Further, Venice Biennale Arte 2024 Collateral Events (typically art exhibits) take place throughout the city. In general, no ticket or admission is necessary for Venice Biennale Arte 2024 national participations (pavilions) or Collateral Events occurring outside of the Giardini and Arsenale. ABOUT OZ VIZ & read aloud

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author Maria Ogedengbe & her studio

[emotionsclinic]

𝐏𝐨𝐩𝐞 𝐅𝐫𝐚𝐧𝐜𝐢𝐬: 𝐀 𝐌𝐚𝐧 𝐨𝐟 𝐇𝐢𝐬 𝐖𝐨𝐫𝐝𝐬 (𝐀 𝐟𝐢𝐥𝐦 𝐛𝐲 𝐖𝐢𝐦 𝐖𝐞𝐧𝐝𝐞𝐫𝐬)

The film discusses a formula of living in today’s world that the Pope Francis has given – be in peace with each other and in harmony with the environment. We can draw a parallel between the philosophy espoused by the Pope Francis and St Francis of Assisi. Perhaps the Pope chose the name Francis as he was already following the philosophy of St Francis of Assisi.

Saint Francis of Assisi lived 800 years ago in a small town in Italy, he heard the voice of God – “Francis go and restore my house it’s falling into ruins.” He abandoned a life of luxury for a life devoted to Christianity. He is also known as the patron saint of animals and the environment.

𝗥𝗲𝗮𝗱 𝗳𝘂𝗹𝗹 𝗮𝗿𝘁𝗶𝗰𝗹𝗲 𝗵𝗲𝗿𝗲: https://www.undoyourstress.com/pope-francis-a-man-of-his-words-a-film-by-wim-wenders/

[catholicpriestmedia]

"Listen to Jesus and follow Him. That's the message of the #Transfiguration." - #PopeFrancis

📷 The Transfiguration Fresco (1439-43) by Fra Angelico in the Dominican Priory of San Marco, Florence, Italy / #LawrenceOP via #Flickr (CC BY-NC-ND 2.0). #Catholic_Priest #CatholicPriestMedia

[lasseling]

Archbishop Vigano Warns Pope Francis Working With WEF To Destroy Christianity

Archbishop Carlo Maria Viganò, who was recently excommunicated by the Vatican for exposing its globalist ties, has warned that Pope Francis is working with the WEF to destroy Christianity.

[nomadiceve070]

Russia-Ukraine War:क्यों Zelensky ने Pope के शांति प्रस्ताव को ठुकरा दिया?

रविवार को यूक्रेन ने पोप फ्रांसिस के रूस के साथ युद्ध को समाप्त करने के लिए वार्ता करने ki baat को seedhe se खारिज कर दिया, जिसमें यूक्रेन के राष्ट्रपति जेलेंस्की ने कहा कि एक तरफ़ तो "वर्चुअल मध्यस्थता" में लगे हुए हैं और रूस के विदेश मंत्री ने कहा कि कीव कभी भी हार मानने वाला नहीं है। देखिये लोकल खबरें, लोकल अंदाज़ में सिर्फ nomadiceve Channel पर On the other hand Francis said that when things were going badly for a party to a conflict one had to show the "courage of the white flag" and negotiate. The pope's interview was believed to be the first time Francis has used terms like "white flag" or "defeated" in discussing the Ukraine war, though he has referred in the past to the need for talks. #russia #ukrainewar #russiaukraine #popefrancis #zelensky #hindi videos

[wcatradio]

In this episode of The Open Door (Monday, March 4th) we’ll discuss the role of tradition in forming Catholic teaching. Some argue that Pope Francis overlooks the normative role of tradition. Others argue that some papal critics, as well as critics of Vatican Council II, misunderstand the dynamic nature of tradition itself. We’ll discuss, too, the development of doctrine and what it means. Our guest is the Portugal-based Pedro Gabriel. Dr. Gabriel is one of the co-founders of the apologetics website “Where Peter Is.” He is also a medical oncologist. He recently authored Heresy Disguised as Tradition (En Route, 2023). The following are among the questions we’ll ask are the following. Please feel free to suggest others!

What counts as “tradition”? Does a simple appeal to the social sciences answer this question? (25)

What is a radical traditionalist? Is there such a thing as “hyperpapalism”?

What is the scope of the teaching that Catholics are “to be united in mind and heart” with the Holy Father? Does it extend to matters of diplomacy? To philosophical orientation?

How are we to know the mind of the pope, especially when it is changing?

Should we assume that Pope Francis is as attuned to the Catholicism of Africa as he is to the Catholicism of Europe and the Americas?

To what extent is culture normative?

Would you assess Pope Francis’s restrictions on the Latin Mass as “harsh”? (17)

“Subjective culpability” can become a “mitigating circumstance” in moral assessment of an act involving grave matter. In such cases how are we to provide sound moral guidance?

Could you explain for us the concept of “complexio oppositorum”? Is it compatible with the principle of non-contradiction?

Has synodality come to terms with fundamental theological disagreements?