Far from the stress of crowded airports or stations, ferries allow you to travel in comfort while taking your time.
Our friends at Vivanoda, a web platform that enables all travelers to find ferry, bus, train and plane tickets, wanted to launch a major study into ferry prices in Europe in order to gain a better understanding of the variations in ferry ticket prices according to a number of criteria (destination country, distance, seasonality, etc.).
Fortunately for those of us interested in a Europe trip that includes ferrying, they have analyzed tens of thousands of ferry fares on hundreds of routes in Europe, as well as crossings to Turkey and the Maghreb countries (Morocco, Algeria, Tunisia), to get as exhaustive a picture as possible. If you enjoy comparing prices using graphs you are going to want to keep reading…
It’s not difficult to understand the appeal of Ferry travel- leisurely comfortable rides with great views.
Here are the key points highlighted by this study at European level:
Ferry crossings to Tunisia, Lithuania, Latvia, Poland and Sweden have the lowest price index.
Conversely, ferry crossings to Turkey, the UK and Morocco have the highest price indexes.
Connections between Greece and Turkey and those between Morocco and Spain are proportionally the most expensive in Europe.
Connections between Germany and Lithuania or Latvia are the least expensive in relation to the distance travelled.
The shorter the crossing, the more expensive it is.
Across Europe, prices are higher on average from July to September. They are also slightly higher at weekends.
For The Silo, Nicolas Pellier.
About Vivanoda Vivanoda is a web platform that makes it easy to find ferry, train, bus and plane tickets for travel in Europe. Launched in 2013, the site has received awards from the European Commission, the International Union of Railways and the Groupama insurance group.
This year’s SWISSARTEXPO 2023 will be held in the beautiful Zurich main station. The art festival expects to draw 80,000 passers-by every day at the most visited hotspot in Zurich!
What is the ARTBOX.PROJECTS? The ARTBOX.PROJECTS have been taking place at regular intervals since 2015 at the most sought-after art hot spots worldwide. The aim of the ARTBOX.PROJECTS is to provide a platform for specially emerging artists so that they can be seen by a large audience. So far, for example, very successful exhibitions have been held in the following locations: Miami during Art Basel, New York during Armory Art Week, Basel during Art Basel, Barcelona, Venice during the Biennale d’Arte and many more! How does the ARTBOX.PROJECT Zurich 5.0 work? Our most popular art project, the ARTBOX.PROJECT Zurich, takes place every year during the SWISSARTEXPO. SWISSARTEXPO is a Swiss art festival that takes place in late summer in Zurich’s venerable Main Station Hall and presents over 100 artists from all over the world. The ARTBOX.PROJECT has a very prominent place in the front part of the exhibition, where the two 86″ HD screens are located, on which the artworks of the ARTBOX.PROJECT Zurich participants are presented digitally throughout all exhibition days.
Until quite recently, the field of early modern history largely focused on Europe.
The overarching narrative of the early modern world began with the European “discoveries,” proceeded to European expansion overseas, and ended with an exploration of the fac-tors that led to the “triumph of Europe.” When the Journal of Early Modern History was established in 1997, the centrality of Europe in the emergence of early modern forms of capitalism continued to be a widely held assumption. Much has changed in the last twenty years, including the recognition of the significance of consumption in different parts of the early modern world, the spatial turn, the emergence of global history, and the shift from the study of trade to the commodities themselves.
Sometimes conferences disappear from view as soon as the delegates disperse.
Other times, when the papers are published in an edited volume, conferences come to be seen as important milestones in the historiography. The two volumes edited by James Tracy, entitled The Rise of Merchant Empires and The Political Economy of Merchant Empires published in 1990 and 1991, respectively, move through their various stages of production, ownership, transmission and transformation .
Moreover, those stages are overlapping, circulatory and contradictory; objects move in and out of collections, as they move in and out of fashion, and meanings are never stable. When a feathered crown is produced in Spanish America, for example, it has a very different meaning from when it enters into a cabinet of curiosity, and when it is taken out of the cabinet to appear in a spectacular performance in the street or in the theatre, it once again takes on a different meaning.
Objects gain biographies; earlier meanings of objects are never erased but reshaped and translated to new circumstances, as Leah Clark showed in her study of the circulations of gems and jewels through the hands of a variety of owners in quattrocento Italy. Have we lost this meaning connection with mass produced items from China?
Such insights have benefitted not only from the global turn but also from developments in the fields of anthropology and art history, making the field more interdisciplinary than it was when the study of the trade in goods focused more on their trade than on the goods themselves.
The Founding of a New Journal
Despite Tracy’s efforts, European actors continued to hold central stage in the field. When the Journal of Early Modern History (JEMH) was established in 1997, a decade after the Minnesota conference, the centrality of Europe in the emergence of early modern forms of capitalism, for example, continued (and still continues) to be a widely held assumption. In part, this can be explained by the powerful legacy of giants in the field like Fernand Braudel and Immanuel Wallerstein.
1 James Tracy, ed.,The Rise of Merchant Empires: Long-Distance Trade in the Early Modern World, 1350-1750, Studies in Comparative Early Modern History (Cambridge, 1990); James Tracy, ed., The Political Economy of Merchant Empires, Studies in Comparative Early Modern History (Cambridge, 1991).
2 Herman Van der Wee, “Structural Changes in European Long-Distance Trade, and Particularly in the Reexport Trade from South to North, 1350-1750,” in The Rise of Merchant Empires, 14-33; Niels Steensgaard, “The Growth and Composition of the Long-Distance Trade of England and the Dutch Republic before 1750,” in The Rise of Merchant Empires, 102-52; The importance of comparative methodologies is also spelled out in the short editorial that accompanies the first part of the first volume of the JEMH. See James D. Tracy, “From the Editors,” Journal of Early Modern History 1 (1 January 1997):3
Braudel’s concern was entirely with European history over the longue durée; Wallerstein’s 1976 study identified Europe as one of the core regions in the modern capitalist economy as it emerged in the sixteenth century. Regions like Central Africa, India and China were designated as peripheries, meaning that their natural resources and low-skill, labor-intensive production sustained the economic growth of the core region. Wallerstein’s framing of the relationship between the early modern European core and its peripheries formed the base for much of the scholarship of the past decades, including numerous studies of the long-distance or intercontinental trade between core and periphery.
Much that was written also continued to identify long-distance trade as the preserve of either the various East India Companies associated with individual nations, or of the specifically named merchant communities such as the Armenians, the Jews, Wang Gungwu’s Hokkien merchants, or the Bajaras and Banyas merchant communities.
Such groups appear in the literature as having a clear identity that separates them from other groups and an often marginal status that makes them especially suited to the life of the itinerant merchant who covers vast distances.
And for much of the 1990s and beyond, the emphasis continued to be on commodities traded over long distances, from Asia to Europe via land or sea routes, including luxury items that justified the high cost associated with their transport. Precious metals were sent from the Americas to Asia, silks and spices arrived in the Levant via overland trade routes, and once the Europeans had rounded the Cape of Good Hope, luxury goods like porcelains, precious stones, and exotic hardwoods were shipped across the oceans along with silks and spices. Long-distance trade as it appears in Tracy’s two volumes on merchant empires was undoubtedly seen as important, but as essentially different from the bulk trade in grains, timber and salt that, for example, underpinned the growth of the early modern Dutch economy.
3 Fernand Braudel,Civilization and Capitalism, 15th-18th Century, trans. Siân Reynolds, 3 vols. (Berkeley, 1992); Immanuel Maurice Wallerstein, The Modern World-System: Capitalist Agriculture and the Origins of the European World-Economy in the Sixteenth Century (New York, 1976). At least 23 research articles published between 1997 and the present in JEMHquote Braudel’s work, and a further five quote Wallerstein.
4 Gungwu Wang, “Merchants without Empire: The Hokkien Sojourning Communities,” in The Rise of Merchant Empires, 400-422; Irfan Habib, “Merchant Communities in Precolonial India,” in The Rise of Merchant Empires, 371-99.
In other words, when the JEMH was founded, the centrality of Europe in shaping global trade relations, the separation of agents into distinct nation-based groups, and the classification of goods over long distances as luxuries of less importance all still had a very strong presence.
One major change did occur, however, more or less between the appearance of The Rise of Merchant Empires in 1990, and the establishment of the JEMH in 1997.
John Brewer and Roy Porter’s 1993 Consumption and the World of Goods was one of those transformative collections of articles that inaugurated a whole new way of doing history.6 Brewer and Porter were not the first to use the title; Mary Douglas and Baron Isherwood had already published a book with a very similar title in 1979. But Brewer and Porter, and many others who went on to publish in the field of what we might call consumption studies, took the study of the consumer in a new direction, away from the eighteenth-century European debates over whether the consumption of luxury goods was morally justifiable, and towards sophisticated studies of the complex contexts in which people desired goods and in which that desire and demand for goods went on to transform society, culture and the ………… to continue reading click here for full document in PDF format.
For the Silo by Anne Gerritsen, University of Warwick. Paper courtesy of academia.edu
With the historic opening of Documenta 14 in Athens this month, now is a perfect time to take a look around the world at more of the biennials happening in every corner throughout the year. You may recall a previous post in which we discussed three of the brightest stars in the biennial universe (namely, Venice, Whitney, and Documenta) but there is more to the vast world of biennials than just those few. There are old and new festivals celebrating cultural and political stories from every part of the globe imaginable. In these times of increased global awareness and community, the biennial may be one of the best conduits to further difficult conversations. The four biennials here take place in nations where socio-political upheaval has been or is part of the nations’ recent past or present existence.
Odessa Biennale
A relative newcomer to the biennial scene, Odessa Biennale was established in 2013 by The Museum of Modern Art, Odessa. The first biennale was titled Self-government: cultural evolution vs. revolution. Participants were asked to examine the relationship and contradiction between various forms of freedom (personal, social, small group) and the impositions and restrictions of self-government. The upcoming biennale, set for August 26-September 30 is titled Turbulence. This year’s exhibition is rooted in Alvin Toffler’s 1970 book, Future Shock. Toffler examined the idea of collective shock as a result of living during a time of extreme change. Spinning out from the ancient curse, “may you live in an era of change” this year’s biennale seeks to disrupt the notion that extreme change is outside the ordinary and instead posits that all of human existence has been based around rotating times of chaos and calm. Open call for the 2017 biennale ended in December, but for future events (the next is slated for 2019) artists are always welcome to contribute their work for consideration.
Istanbul Biennale
This year will mark the 15th Istanbul Biennial. Since its inception in 1987, Istanbul has made the move to become an artist curated biennial. This year curation is headed up by artist duo Elmgreen & Dragset, Danish artists who explore the crossroads of art, architecture, and design. Istanbul has risen to a high place among the world’s biennial festivals, now being given similar footing to Venice, Sao Paolo, and Sydney. The event seeks to bring together Turkish artists as well as artists from the international community in order to further dialogue and exchange of cultural ideas. Past themes have included 2013’s Mom, am i barbarian? And in 2015 Saltwater: a theory of thought forms. The 2017 biennial is working in collaboration with the 2017 Istanbul film festival, both of which are exploring the title topic A Good Neighbor. In addition to the contemporary art program, the biennial will include ten feature and five short films all curated by Elmgreen and Dragset. The films (as well as the art) will look at the concept of home as a means of portraying identity and the intricacies of community and co-existence. The 2017 Istanbul Biennial runs from September 16-Novermber 12.
Beijing International Art Biennale
China is a nation with an ancient history of art as well as a finger on the developing pulse of the future. It is a burgeoning international economy as well as a land steeped in cultural tradition. The biennial was begun following China’s ascent to the WTO as well as their 2008 hosting of the Olympic Games. Through art, the Beijing Biennale seeks to further the notion of plurality as China continues to open its borders and join the world stage. The overall theme of each biennial is stated as demonstrating “the graceful bearing of opening up in an all-round way.”
A few of the tenets of the Beijing Biennale are, “building a grand path and bridge for international cultural exchanges” and “closely combining arts with international trends and national interests, developing the resource advantages in serving society and human beings.” The theme of the 2017 Biennale, set to run from September 24-October 15 at National Art Museum of China, encapsulates these basic principles. The Silk Road and World’s Civilizations considers the ancient tradition of China’s Silk Road and the new tradition of peaceful international development.
Karachi Biennale
In its first ever biennale, Pakistan will explore bold themes under the title Witness. According to the festival website, “Art as a testament of its time has always held significance, particularly in times when memory is heavily contested.
According to Milan Kundera, ‘The struggle of man against power is the struggle of memories against forgetting’. The theme Witness has been chosen for its strong relevance to politics of representation, erasure and selective documentation.” Pakistan has been a nation of political and social strife. Like much of the world today, upheaval has been a strong contributor to individual experience. Art has always been a medium that can reach beyond difficult times and continue a dialogue outside the socio-political arena. Karachi’s first Biennale will be curated by Amin Gulgee who grew up in Karachi. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.