davidanugraha/M4-RAG huggingface dataset:
KARO

KARO (98.7 FM, "Air1") is a radio station licensed to serve Nyssa, Oregon, United States. The station is owned by the Educational Media Foundation.
It broadcasts a Christian worship music format as part of the Air1 network.
This station received its original construction permit for a new 3,000 watt radio station broadcasting at 98.7 MHz from the Federal Communications Commission on December 5, 1989. The new station was assigned the call letters KGZH by the FCC on February 21, 1990. After a series of delays, extensions, a shift in transmitter site, and an upgrade in authorized power, KGZH finally received its license to cover as a 100,000 watt radio station from the FCC on April 23, 1998.
In June 1998, Mason Broadcasting, Inc., reached an agreement to sell this station to First Western Inc. for a reported sale price of $49,400. The deal was approved by the FCC on July 23, 1998, and the transaction was consummated on August 5, 1998.
In January 2003, First Western Inc. (G.W. Gilbert, president/director) reached an agreement to sell this station to the Educational Media Foundation (Richard Jenkins, president) for a reported sale price of $1 million. The deal was approved by the FCC on February 25, 2003, and the transaction was consummated on March 19, 2003. At the time of the sale, KGZH aired a country music format. The new owners had the FCC change the station's call letters to the current KARO on March 27, 2003.
Karupuak jangek

Karupuak Jangek karupuak jangek adolah karupuak nan tabuek dari kulik hewan sarupo kulik jawi ataupun kulik kabau. karupuak nan di buek jo kulik hewan ko biasonyo dinamoan karupuak kulik atau rambak. karupuak jangek biasnyo dimakan jo menu utamo ataupun di makan jo lontong. ditiok daerah, namonyo babeda-beda, kalau di sumatra barat namo nyo karupuak jangek. Di sumatra barat kekhasan karupuak jangek ko taruih dijago, dengan mambuek nyo jo kulik jawi atau kulik kabau. Kulik ko diambiak di pamotongan hewan.
angolahan karupuak jangek ko mambutuahan wakatu nan cukuik lamo. Satidaknyo mamakan wakatu baminggu-minggu. Karano kulik kabau atau jawi ko paralu di jamua cukuik lamo, dan malalui proses lainnyo hinggo bisa sampai panggorengan dan lain sabagainyo. Mangkonyo karupuak jangek ko di jua jo harago nan cukuik maha. Tapi ado juo karupuak jangek ko nan di jua di kadai-kadai ketek jo harago nan labiah murah.
Manganai pangolahannyo, langkah partamo mancari kulik kabau atau sapi di tampek pamotongan.
Tujuannyo adolah untuak di cuci, dibarsiahan dari darahnyo nan lakek pado kulik sampai barasiah.
Kulik nan alah di barasiahan , lalu di abuih untuak mangilangan bulu-bulu nan masih ado atau nan masih malakek. Caronyo adolah jo maabuih, maangkekannyo jo pisau.
Kulik kabau atau jawi di abuih ulang dan dibaka untuak siso dagiang nan lakek pado kulik.
Proses salanjuiknyo adolah mamotong kulik nan alah barasiah. Potong kulik ketek-ketek sasuia jo salero masiang-masiang. sasudah itu agiah garam dan jamua kulik salamo saminggu.
Kulik di goreng jo minyak sayua atau minyak karambia, kulik tadi di goreng satangah masak sajo.
Satalah saminggu dijamua, proses salanjuiknyo adolah manggoreng kulik tadi. Iko adolah proses nan tarakhir nan akan mabuek kulik tagoreng sampurna. Biasonyo pangolahn kulik nan rancak, akan mambuek kulik mangambang katiko digoreng.
Nah itulah ulehan tantang karupuak jangek khas Sumatra Barat. kalau sanak nio mabueknyo, jan lupo untuak macari kulik jawi atau kabau nan rancak yo.Mangko sanak akan mansdapek an hasil karupuak jangek.
1.http://www.apasih.web.id/kerupuk-jangek-makanan-populer-masyarakat-sumatera-barat-1362.html
2.http://ww.infosumbar.net/wisata/karupuak-jangek-makanan-ringan-khas-minangkabau/
Cangkuak

Cangkuak atau samba lado cangkuak marupoan jinih samba lado nan barasa dari Padang Panjang, Sumatera Barat. Cangkuak tabuek dari aia tajin atau aia rebusan bareh. Bahan-bahan lainnyo yaitu lado, bawang, tomat, bawang, patai, kjo karupuak jangek. Biasonyo cangkuak banyak dijua di rumah makan atau kadai nasi. Cangkuak pernah pulo diusulan masuak Warisan Budaya Tak Benda (WBTB) Indonesia dek Balai Pelestarian Nilai Budaya (BPNB) Sumatera Barat.
Pado mulonyo, cangkuak hanyo dibuek dek masyarakaik di wilayah Darek. Masyarakaik satampek zaman dahulu biaso mamasak nasi manggunoan pariuak, katiko nasi masak, samba lado cangkuak bisa pulo disajian manggunoan aia dari mamasak nasi tu. Namun cangkuak ko alah mulai manyeba ka daerah Minangkabau nan lain. Ado pulo sijarah nan manyabuikan basonyo cangkuak ko dibuek dek keterbatasan pangan pado maso itu. Bahan-bahan untuak mambuek cangkuak didapek dari hasia tanaman di pakarangan rumah sarupo bawang, tomat, jo kantang. Wakatu itu cangkuak acok dibaok dek petani nan bakarajo ka ladang.
Долгоржавын Болд

Долгоржавын Болд нь Монгол Улсын Ардын Зураач, Төрийн шагналт хүн юм.
Д.Болд зураач нь 1952 онд Хөвсгөл аймгийн Тариалан суманд төржээ. 1977 онд ЗХУ-ын Ленинград хотын И.Е.Репиний нэрэмжит Академийн уран зургийн ангийг Орос улсын гавьяат зураач, профессор А. Д. Зайцевын урланд суралцан төгссөн.
Зураач Д.Болд нь "Алтайн дуулал", "Одтой тэнгэрт орчиж" бүтээлээ туурвиж Төрийн шагнал хүртсэн.
Төрийн шагналт зураач Долгоржавын Болд нь "Алтайн дуулал" бүтээлээ агаарлаг хөх саарал өнгөөр илэрхийлжээ.
Урлаг судлаач Д.Дашбалдан:
гэж тэмдэглэсэн байдаг.
1977 оноос МУЭХ-ноос зохион байгуулсан гадаад болон дотоодын үзэсгэлэнгүүдэд тогтмол оролцож ирсэн. Үүнд Чех, Австри, Алжир, Болгар, Финланд, Франц, Итали, Югослав, Хятад, Солонгос, Куба, Унгар, Норвеги, Герман, Польш, Румын, Орос, Англи зэргийн улсуудад бүтээлүүд нь дэлгэгдсэн.
Монголын хөрөнгийн бирж дэх компаниудын жагсаалт

Энэхүү өгүүлэл нь Монголын Хөрөнгийн биржид бүртгэгдсэн компаниудын жагсаалт юм. Энэ жагсаалт нь компаниудын нэр, код, үйлдвэрлэл ба үйлчилгээний төрөл зэрэг мэдээллийг агуулсан болно. Мөн энэхүү жагсаалт нь 2007 оны 9 дүгээр сарын 12-ноос өмнө бүртгэлээс хасагдсан компаниудын мэдээллийг агуулаагүй болно.
Монголын Хөрөнгийн Бирж нь Монгол улсын нийслэл Улаанбаатар хотноо байрлах бөгөөд дэлхийн хамгийн жижиг хөрөнгийн биржүүдийн нэг юм.
Ухамсар (сэтгэл зүй)

Ухамсар (англи. Consciousness, орос. Сознание) гэдэг нь тархи хүрээлэн буй бодит байдлыг зохих ёсоор хүлээн авах чадвар юм. Субъектийн ертөнц ба түүний байр суурь нь түүний дотоод сэтгэцийн туршлагаа тайлбарлах чадвартай холбоотой бөгөөд хамтарсан үйл ажиллагааг оновчтой зохион байгуулахад шаардлагатай байдаг. Ухамсар бол сэтгэцийн үйл ажиллагааны нэг хэлбэр бөгөөд дээд мэдрэлийн үйл ажиллагааны элемент бөгөөд түүний үндэс нь хүний тархи юм.
Монголчуудын ухамсар гэдэг үг нь -"ухаж өөрөө ойлгох" гэсэн санаанаас гаралтай.
-Өрөөр хэлбэл "Ухамсар" нь тухайн хүн мэдээллийг олж авч боловсруулан (нэгэнт бий болсон нөхцөл байдалд) дүгнэлт хийх чадвар юм. Тэгвэл оюун ухаан бол тэрхүү мэдээллийг хүлээж аваад боловсруулах ажлыг гүйцэтгэх ёстой юм. Харин ухамсар нь дүгнэлт гаргана гэсэн үг.
-Ухамсар бол хамгийн энгийнээр бол дотоод болон гадаад оршихуйг ухамсарлах явдал юм. Гэсэн хэдий ч "ухамсар" гэх ойлголтын талаар гүн ухаантнууд, эрдэмтэд, шашин судлаачид олон мянган жилийн дүн шинжилгээ, тайлбар, мэтгэлцээн хийж ирсэн. Яг юуг судлах, тэр байтугай ухамсар гэж юуг үзэх талаар санал бодол өөр өөр байдаг.
Ухамсар бол өргөн хүрээний утгыг агуулсан ойлголт юм. Ухамсарыг дараахь байдлаар ойлгож болно.
Угсаатан

Угсаатан (ᠤᠭᠰᠠᠭᠠᠲᠠᠨ) — нэгэн төрлийн хэлтэй ард түмэн. Үндэстнээс өргөн арьстнаас явцуу хэмжээний ард түмний хуваарь.
Түүх, хэл, соёл, амьдрал ахуйн хувьд бие биетэйгээ ойр төрөл, нэгэн угсаа гаралтай хүмүүсийг угсаатан гэнэ. Угсаатан бүрдэх үйл явцын дээд хэлбэр нь үндэстэн юм. Угсаатны үндсэн 3 хэлбэр байдаг. Үүнд:
Дэлхий дээр 4000 гаруй угсаатан байдаг ба 310 гаруй нь 1 саяас олон хүнээс бүрддэг. Мөн дэлхий дээр 6600 орчим хэл байдаг ба хүн амын 83 хувь нь эдгээр хэлний 83-аар нь ярьдаг. Хамгийн өргөн тархсан хэл болох англи, араб, испани, хятад, орос, франц хэлүүдийг ажлын хэл гэж үздэг. Хүн амын тоогоор 1.Хятад - 1,3 тэрбум 2.Англи – 380 сая 3.Испани – 270 сая 4.Араб – 260 сая 5.Хинди – 230 сая 6.Португал – 200 сая гэх мэт...
Ганбилгүүн

2008 оны 1 сарын 4-нд Монгол улсын Улаанбаатар хотод Дамдинсүрэнгийн Отгондаваа, Дамдинжавын Сайнбаяр нарын отгон хөвгүүн болон мэндэлсэн.
Үүнээс цааш тэр өөрийн замналыг бичиж яваа ухамсар тэнийсэн нэгэн юм.
Оюун санаа

Оюун санаа гэдэг нь хүний сэтгэл бодол болоод ухаан ухамсарын цогц мэдрэмж буюу аливаа зүйлийн утга учир, зорилго, оршин буйг ухааран буй ухамсар нь өөрөө оюун санаа юм.
Бидний бие яс, мах, булчин, шөрмөс, цус илдэс, амин хүчил... гээд зүйлсээс бүтсэн бол оюун санаа нь хайр, нинжин сэтгэл, баяр хөөр, урам зориг, эрч хүч тэр аяараа юм. Эшлэлː Оюун санааны удирдагч Шри Шри Рави Шанкар
Жам ёсны эрх

Жам ёсны нь хүмүүсийн бий болгосон(позитив) эрхээс давуу гэсэн үзлийг МЭӨ V зууны Грекийн түүхээс бид олж мэдэх болно. Чухам энэ л үеэс бурхан тэнгэр хүн бүрийг тэгш байхаар бүтээсэн бөгөөд хэнийг ч боол болгоогүи гэсэн үзэл санаа улбаатай. Эртний сэтгэгч Аристотель “Аливаа хууль нь нэгэн төрлийн эрхэд үндэслэж байдаг” гэж бичсэн байна. “Хэрэв тиймгүй бол хууль нь хэмжээгүй эрхт ноёрхлын хэрэгсэл болж хувирна” гэж тэрээр бичжээ. Түүний үзлийг цааш хөгжүүлсэн ромын хуульч Марк Туллий Цицерон “Жинхэнэ хууль гэдэг нь байгалийн хууль зүй тогтолд нийцсэн, хүн бүрт хамаатай, мөнхийн ухамсар юм” гэж тэмдэглэсэн нь бий.
Center on International Commercial Arbitration

The Center on International Commercial Arbitration at the American University's Washington College of Law (WCL) was founded in 2004, and provides academic training and a discussion forum for issues and developments in commercial arbitration. Its director is Horacio A. Grigera Naón, an independent international arbitrator and former Secretary General of the International Court of Arbitration of the International Chamber of Commerce. In addition to seminars and discussions with practitioners, the Center hosts three annual programs: a summer program on international commercial arbitration, an annual seminar on international commercial arbitration and an annual lecture on international arbitration. Most of the events offer continuing legal education (CLE) credit.
The Center operates an online program, for which students who pass receive an Online Certificate in International Commercial Arbitration. The curriculum includes the legal principles and practical implications of international commercial arbitration and international investment arbitration.
The Center also runs a three-week summer program for professional development, where professional arbitrators and practitioners present six seminars in English and three in Spanish. The program is intended for advanced students and practitioners, on the theory and practice of handling arbitration cases under various arbitration systems. Sessions may be taken for a Certificate of Attendance, Certificate of Completion (Diploma) and CLE Credit.
The Center provides an annual moot competition for LL.M. candidates. It also organizes an investment arbitration competition in Spanish only, la Competencia de Arbitraje Internacional de Inversión, with Centro de Arbitraje y Conciliación, Cámara de Comercio de Bogotá and Universidad Externado. The event is sponsored by ICSID.
The Arbitration Brief is a student publication at American University Washington College of Law.
List of tallest buildings in Guangzhou

This list of tallest buildings in Guangzhou lists skyscrapers in Guangzhou, China by height. Guangzhou, the capital and largest city of Guangdong, China's most populous province, has 203 buildings with a height of above 150 metres, the fifth highest in the world. Despite this, it is bested by neighbouring Shenzhen, which has over 370 buildings above that height. Guangzhou has 11 supertalls, buildings measuring over 300 metres in height, the fourth-highest in the world after Dubai, Shenzhen, and New York City. Guangzhou and Shenzhen are part of the Pearl River Delta, the most populous urban agglomeration in the world, and one of the regions where skyscrapers are most concentrated.
The tallest building in Guangzhou is currently Guangzhou CTF Finance Centre, which stands 530 m (1,740 ft) tall. It is also the third-tallest building in China and the eighth-tallest in the world. Though generally not considered as a building, standing 600 m (2,000 ft) tall, Canton Tower is tallest structure in Guangzhou.
The first skyscraper to be constructed in Guangzhou was the Guangdong International Building in 1990, at a height of 200 metres. At the time of its completion, it was the tallest building in China. Since then, Guangzhou has built skyscrapers at a frequent rate. As with many major Chinese cities, the 2010s saw an increased rate of construction in skyscrapers and supertall buildings.
The island of Pazhou has seen increased vertical development in recent years.
This lists ranks Guangzhou skyscrapers that stand at least 150 m (492 feet) tall, based on standard height measurement. This includes spires and architectural details but does not include antenna masts. Existing structures are included for ranking purposes based on present height. The Chinese name of each building is given in Traditional Chinese.
This lists buildings that are under construction in Guangzhou and are planned to rise at least 150 m (492 feet). Buildings that have already been topped out are also included.
* Table entries without text indicate that information regarding building heights, floor counts, and/or dates of completion has not yet been released.
This lists buildings that are approved or undergoing site preparation for construction in Guangzhou and are planned to rise at least 150 m (492 feet).
The following is a list of buildings that in the past held, or currently holds the title of the tallest building in Guangzhou. This list excludes such historic pagodas like the Flower Pagoda or Zhenhai Tower.
Enkhbold Togmidshiirev

Enkhbold Togmidshiirev (Mongolian: Тогмидшийрэвын Энхболд) is a Mongolian contemporary artist known for his use of "organic materials such as horse dung, ash, rust, leather and wood" in his conceptual performances.
Enkhbold was born in 1978 in Övörkhangai Province (Mongolian: Өвөрхангай аймаг), Mongolia and grew up in a nomadic family. His interest in the arts started from an early age when he began wood carving with the encouragement of his parents. In 1998, he moved to the capital city and enrolled at Setgemj College of Design and Technology, Ulaanbaatar, Mongolia. Soon after, Enkhbold transferred to the Institute of Fine Art, Ulaanbaatar, Mongolia graduating in 2005. He studied under Enkhbat Lantuu, an abstract painter, who advocated for Enkbold's inclination to step outside the traditional medium of painting and to experiment with other artistic forms such as installation art, which was the first in his cirriculum. Enkhbold Togmidshiirev is "a member of the Blue Sun Group. Founded in 2002 the Blue Sun Group is an artists group that aims to support emerging artists and alternative art practices". In 2016, he won the "Best Artwork of the Year" from Mongolian National Gallery of Modern Art.
2016 Mining, at Art Space 976+, Ulaanbaatar, Mongolia
2018 2nd Yinchuan Biennale, at Yinchuan Contemporary Art Museum, China
2016 Land Art Mongolia - 4th Biennial, Ulaanbaatar, Mongolia
2015 Lost Children of Heaven, at Art Space 976+, Ulaanbaatar, Mongolia
2015 Asia Triennial Manchester, at Manchester Museum, UK
2015 Other Home, at Mongolia Pavilion in La Biennale di Venezia, Venice, Italy
2012 Shanghai Biennale, Shanghai, China
Jantsankhorol Erdenebayar

Jantsankhorol Erdenebayar (Mongolian: Эрдэнэбаярийн Жанцанхорол), also known as Jantsa, is a Mongolian multidisciplinary artist based in Los Angeles, California.
Jantsankhorol Erdenebayar was born in 1992 in Ulaanbaatar, Mongolia into a family of artists. His father Erdenebayar Monkhor (Монхорын Эрдэнэбаяр) is a renowned Mongolian painter and his mother Munkhtsetseg Jalkhaajav (Жалхаажавын Мөнхцэцэг) is an acclaimed multidisciplinary artist. He studied sculpture and received his bachelor's degree in 2015 from Hunter College, City University of New York and his master's degree in 2019 from the University of California, Los Angeles.
In 2015, Jantsakhorol held his first solo exhibition titled Hybrid Resistance at the Zanabazar Museum of Fine Arts, Mongolia. The following year, he completed two art residencies, one at Tropical Lab -10, LASALLE College of the Arts, Singapore and another one at Swatch Art Peace Hotel, Shanghai, China. In 2017, he was awarded by Alliance Francaise de Mongolie to participate in a residency program at 59 Rivoli Artist Studios, Paris, France.
In 2019, Jantsakhorol was invited to participate in the 58th La Biennale Di Venezia. He was commissioned by Gantuya Badamgarav, the curator of Mongolia Pavilion, to create site-specific sculptures. Titled A Temporality, the exhibition consisted of Jantsa's life-sized installations formed out of plastic and raw construction materials accompanied by a sound piece made by Carsen Nicolai (also known as Alva Noto) in collaboration with Mongolian throat singers. The exhibition garnered much deserved media attention and has been cited as one of the must visit pavilions of the 58th La Biennale di Venezia.
Bernhard Wulff

Bernhard Wulff (born 1948 in Hamburg) is a German composer, conductor, percussionist and musicologist.
Wulff studied conducting, composition and percussion in Hamburg, Freiburg, Basel and Siena and is professor for percussion instruments at the Hochschule für Musik Freiburg.
He is active as a conductor in Europe, South America, the US, Japan, Central Asia and the successor states of the Soviet Union, and as a visiting professor at various universities, including New York (Juilliard School and Manhattan School of Music), Tokyo, Buenos Aires, Santiago de Chile, Mexico City, Rochester, Montevideo, Odesa, San Juan, Ulaanbaatar, Hanoi.
As a composer, he wrote for various genres and was particularly interested in sound art installations and Biosignalverarbeitung [de]. In 1989, he discovered and reconstructed the symphonic works of Viktor Ullmann. Lecture tours as a musicologist on the Ullmann theme took him to many countries.
Wulff is the founder and artistic director of several international music festivals: Two Days and Two Nights of New Music in Odesa (Ukraine), Roaring Hooves [de] in Mongolia/Gobi Desert, "Silk Sound Road" in Kyrgyzstan, "Caspian Fires" in Azerbaijan and "Cracking Bamboo" in Vietnam.
For his services to Mongolian culture, he received an honorary doctorate from the University of Ulaanbaatar in 2010 and was appointed cultural ambassador of Mongolia by the Mongolian government.
TodaysArt

TodaysArt is the annual international festival for Art, Music and Technology in The Hague, Netherlands that takes place in the end of September. It is also the name of the cultural production agency TodaysArt (Stichting The Generator) that produces the festival and other TodaysArt branded events. The festival offers a selection of art and entertainment that can be described as experimental or cutting-edge, while the music program, though varied, usually features a considerable amount of electronic music. The festival is staged in a shifting selection of venues around the city, many of which are usually not used for art or performances.
The artists come from a variety of countries, are tasked by the festival with presenting their creative vision about what Art is Today in terms of music, video and visual arts, film, photography, fashion, performing arts, theatre, contemporary dance and the other disciplines and crossovers that the festival features.
The productions and performances are often made especially for the festival.
TodaysArt are among the 8 major festivals that make up the We Are Europe association. They collaborate on the SHAPE creative platform along with 15 other festivals, focusing on 48 emerging artists each year. They also interact with other cultural institutions through the International Cities of Advanced Sound.
The festival has collaborated on a long list of events and other festivals, with some bearing the TodaysArt brand. Among such collaborators are the Arts Council of Mongolia at the Ulaanbaatar International Media Art Festival, the Sónar Festival in Barcelona, Insomnia Festival, Nuits Sonores, Intonal Festival, CTM Festival, Rokolectiv Festival REUSE festival in Kuwait National Centre for Contemporary Arts in Moscow, and the Tehran Annual Digital Art Exhibition (TADAEX).
Armature (sculpture)

In sculpture, an armature is a framework around which the sculpture is built, when the sculpture could not stand on its own. This framework provides structure and stability, especially when a plastic material such as wax, newspaper or clay is being used as the medium. When sculpting the human figure, the armature is analogous to the major skeleton and has essentially the same purpose: to hold the body erect.
An armature is often made of heavy, dark aluminium wire which is stiff, but can be bent and twisted into shape without much difficulty. The wire is affixed to a base which is usually made of wood. The artist then begins fleshing out the sculpture by adding wax or clay over the wire. Depending on the material and technique, the armature may be left buried within the sculpture but, if the sculpture is to be hollowed out for firing, it must be removed.
Large representational sculptures meant for outdoor display are typically fashioned of bronze or other types of sheet metal, and they require armatures for internal support and stability. For example, a large armature designed by Gustave Eiffel holds up the Statue of Liberty. The armature can be seen from below by visitors to the base of the sculpture's interior.
An armature used in stop-motion animation is an articulated metal, wire or even wooden figure covered with material to build the character, but can be made to hold poses for extended periods of time.
In 3D computer animation, the analogous concept is the skeleton or rig used in skeletal animation.
Reclining Figure 1938

Reclining Figure 1938 (LH 192) is a small sculpture by Henry Moore of an sinuous abstracted human figure. An enlarged version was made in 1984 for the Oversea-Chinese Banking Corporation, Singapore. The resulting Large Reclining Figure (LH 192b) is some 9 metres (30 ft) long, making it the largest sculpture made by Moore.
The sculpture is recognisable as a human form. The head has a notch, like a claw; the narrow torso has two dangling breasts; the left arm rests on the ground, while the right arm and ribbon-like backbone are linked to a pelvis resting on the ground, from which to one long bone-like limb extends to one side.
A 5.75 by 13 inches (14.6 cm × 33.0 cm) lead maquette was made by Moore in 1938, and sold by him to the Museum of Modern Art in New York in 1939. An edition of nine bronzes was cast in 1946; one example is held by the Peggy Guggenheim Collection in Venice, and another in the Leeds Art Gallery since 1991.
The 1938 version is only 33 centimetres (13 in) long. It was enlarged in 1984 for a commission from the Oversea-Chinese Banking Corporation in Singapore to create a 9 metres (30 ft) long bronze, Moore's largest ever sculpture. The original Large Reclining Figure (LH 192b) is outside the OCBC Centre in Singapore, with an artist's copy in bronze at the Henry Moore Foundation in Perry Green, Hertfordshire. There is also a 9 metres (30 ft) long white fibreglass version of the enlarged sculpture, which was displayed at Kew Gardens in 2004.
Organic Abstraction

Organic Abstraction is an artistic style characterized by "the use of rounded or wavy abstract forms based on what one finds in nature." It takes its cues from rhythmic forms found in nature, both small scale, as in the structures of small-growth leaves and stems, and grand, as in the shapes of the universe that are revealed by astronomy and physics. Nautillus shells and honeycombs are examples of organic structures that have served as inspiration for this work, along with the bones and musculature of the body, both human and animal.
Although organic abstraction has been described as a "feature" rather than "an actual movement," the style arose in part as a reaction against the austerity of mid-century Constructivist art and is best known for its practitioners of the mid 20th century, whether in sculpture—Jean Arp, Constantin Brâncuși, Henry Moore; architecture—Eero Saarinen, Frank Lloyd Wright (for the Guggenheim Museum); or design—Charles Eames, Isamu Noguchi. Some recent critics contend that the term Biomorphic Abstraction is coming to be used more generally to describe contemporary art produced in this mode.
In the early decades of the 20th century, prevailing attitudes among European intellectual classes favored reason and science. This attitude demonstrated itself in the highly intellectual avant-garde artistic styles that dominated in Europe and America in the 1920s and 30s: an "intentional formalism" prevailed in the precise, geometric tendencies of styles like Cubism, Constructivism and, later, Concrete Art.
A countervailing view was proposed by French Philosopher Henri Bergson in the early 1900s. Bergeson challenged the primacy of representation over abstraction, science and logic over intuition. He proposed a values system elevating creativity that mimicked the processes of nature, whether by fecundity, mutation, or a concept he called "unforeseeable novelty".
Bergson's ideas took some decades before becoming widely influential in the field of the visual arts. "Although biomorphic forms had appeared in both painting and sculpture by 1913, it was only after the destruction of the utopian visions of Futurism, Cubism and Constructivism, by Stalinism, the Great Depression and Nazism, that Science was superseded by Nature as the prime inspiration for painters and sculptors alike. Organic Abstraction aimed not to build or construct rationally, but to emulate the germinal forces of nature."
Bergson's ideas deeply influenced sculptors like Jean Arp and Constantin Brâncuși (both domiciled in France during the 1930s) and, in art, architecture, and design, spread to widespread influence in the 1950s and 60s.
Biomorphism
A Sculpture for Mary Wollstonecraft

A Sculpture for Mary Wollstonecraft is a public sculpture commemorating the 18th-century feminist writer and advocate Mary Wollstonecraft in Newington Green, London. A work of the British artist Maggi Hambling, it was unveiled on 10 November 2020.
The work is a representation of a naked female figure, emerging out of organic matter which the BBC described as "a swirling mingle of female forms". Wollstonecraft's most famous quotation, "I do not wish women to have power over men but over themselves", is inscribed on the plinth. The sculpture is inspired by Wollstonecraft's claim to be "the first of a new genus".
The sculpture is sited opposite the Newington Green Unitarian Church that Wollstonecraft attended.
The "Mary on the Green" group was founded in 2010 to campaign and raise money for a statue of Wollstonecraft on Newington Green. The group reached its target of £143,300 in 2019. The campaign was chaired by Bee Rowlatt who is a writer and journalist. Rowlatt is also the founding trustee of the Wollstonecraft Society, a human rights education charity. Hambling was commissioned to create the work in 2018.
Hambling's design for the sculpture was selected unanimously by a panel of curators and the public, and chosen over the design of artist Martin Jennings.
Some critics perceived the figure as a depiction of Mary Wollstonecraft, however the campaign behind it describes it as "a sculpture of an idea". Hambling intended the figure to represent an everywoman, signifying the birth of the feminist movement, rather than Wollstonecraft herself. The campaign describes the sculpture's form as a deliberate opposition to "traditional male heroic statuary" of the Victorian era, instead showing a small figure who "has evolved organically from, is supported by, and does not forget, all her predecessors".
The sculpture was criticised for its depiction of nudity and objectification of the female form, with some considering it inappropriate to represent a feminist figure in such a light. Hambling defended her work by saying that the figure was not created in the historical likeness of Wollstonecraft, and that she felt as though "clothes would have restricted her. Statues in historic costume look like they belong to history because of their clothes. It's crucial that she is 'now'." Other hostile responses wrote that many personifications of pure womanhood already existed in classic statuary in various nameless angels or characters like Marianne, and that a new sculpture directly of a successful female figure such as Wollstonecraft would have been preferred rather than yet another abstract woman. Other criticisms simply thought that the sculpture was ugly and generic, making the figure come across as a blank robot.
A crowd-funded campaign was launched shortly following the reveal of Hambling's sculpture to create a statue based on Martin Jennings' alternate design.
Arevalo Plaza

Ramon Avanceña Park, also known as Arevalo Plaza or Plaza Villa, is an urban park and plaza located in the district of Arevalo in Iloilo City, Philippines. It is part of a cultural heritage zone of the district.
The Archdiocesan Shrine of Santo Niño de Arevalo, home to the third-oldest Holy Child image in the Philippines, is located on the plaza. The plaza also features newly landscaped and historical monuments such as the art-deco-styled Rizal monument and a fluted column topped by a crown, dedicated to the former queen of Spain, Isabel II. Dating back to the mid-19th century, this monument was declared a national cultural landmark in 2019.
The plaza was established in 1851 and was renamed in 2019 after Ramon Avanceña, a native and former Chief Justice of the Philippines.
Art Space 976+

Art Space 976+, formerly known as 976 Art Gallery, is a contemporary art gallery located in Khan Uul District, Ulaanbaatar, Mongolia.
976 Art Gallery was founded in 2012 by Gantuya Badamgarav with an aim to increase the visibility of Mongolian contemporary art. In 2017, the gallery started a collaboration with a company Alaqai and change its name to Art Space 976+.
Since its conception, the gallery has been actively organizing exhibitions, performances, and discussions with many of the leading Mongolian contemporary artists such as Enkhbold Togmidshiirev, Munkhtsetseg Jalkhaajav, Nomin Bold, Uuriintuya Dagvasambuu, Baatarzorig Batjargal, Jantsankhorol Erdenebayar, Munkhbolor Ganbold, and Davaajargal Tsaschikher, many of whom have participated in international exhibitions such as La Biennale di Venezia and documenta 14. With its growing international profile, the gallery has become a cultural hub of Ulaanbaatar, working with well-known international artists such as Walter Riedweg (Switzerland), Mauricio Dias (Brazil), Nathalie Daoust (Canada), Christian Faubel (Germany), Mirian Kolev (Bulgaria), and Outsiders Factory (Taiwan).
Gantuya Badamgarav

Gantuya Badamgarav (Mongolian: Бадамгаравын Гантуяа) is a Mongolian art curator and the founder of Art Space 976+. She is the first ever organizer and commissioner of Mongolia Pavilion at La Biennale di Venezia.
Gantuya was born in 1968, in Mandalgovi, Mongolia. When she graduated high school, Gantuya was torn between math and art to select her major, as she had a strong passion for both. She is a bronze medalist from the National Mathematical Olympiad of Mongolia and participant of International Mathematical Olympiad in Finland, 1985. As socialist Mongolia did not encourage artistic endeavors, Gantuya decided to become an economist. She studied Macro Economic Planning in Leningrad Institute of Economics and Finance (present day Saint Petersburg State University of Economics and Finance) in 1980s and received her master's degree from Williams College, USA in Macroeconomic Policy in 2006. After the collapse of the socialist system in Mongolia, Gantuya worked for the Asian Development Bank, United States Agency for International Development and other institutions as an economic analyst and consultant, and later she had held strategic development positions in largest conglomerates in Mongolia, such as Tavan Bogd Group.
In 2012, Gantuya quitted her successful career and founded Art Space 976+ (formerly known as 976 Art Gallery) with a desire to promote contemporary art of Mongolia. Within few years, Gantuya and her team managed Art Space 976+ becoming an important cultural hub of Ulaanbaatar city, by hosting experimental exhibitions, performances, and open discussions with leading contemporary artists of Mongolia, all the while collaborating with renowned international artists.
Upon opening Art Space 976+, Gantuya quickly realized that contemporary art in Mongolia needed "a significant amount of support". Thus, she established a non-government organization Mongolian Contemporary Art Support Association (MCASA). Through MCASA, Gantuya commissioned the first ever participation of Mongolia at La Biennale di Venezia in 2015. Later she continued the endeavor by organizing the 2017 and the 2019 Mongolia Pavilions where she worked as a curator for the latter. Titled A Temporarily, "project stem[ed] from the curator’s ambition to transform ancient mediums of oral expression into contemporary form". It included a site-specific installation by Jantsankhorol Erdenebayar along with a sound installation made in collaboration with Carsten Nicolai and Mongolian traditional throat singers. The exhibition garnered an extensive media attention, marking it as one of the must visit pavilions of that year.
Moreover, Gantuya has worked as an independent curator for multiple projects such as Echoes of the Void by Italian artist Maria Rebecca Ballestra, China Dolls by Canadian artist Nathalie Daoust and Nomad Spirit by Diaz & Riedweg and 5 Mongolian artists, including Munkhbolor Ganbold and Davaajargal Tsaschikher.
She is one of the contributing authors of the documenta 14 Daybook and speaker at 7th World Summit on Arts and Culture in Malta, Culture Summit Abu Dhabi 2018 and TEDx Ulaanbaatar 2018.
Munkhbolor Ganbold

Munkhbolor Ganbold (Mongolian: Ганболдын Мөнхболор), also known as Munkkh, is a Mongolian contemporary artist who was one of the participating artists of the Mongolia Pavilion — Lost in Tngri at the 57th La Biennale di Venezia.
Born in 1983 in Ulaanbaatar, artist Munkkh represents a generation of Mongolian artists, who grew up during harsh transition, a period of chaotic shifts in Mongolia's society in 1990s. His father Ganbold was a painter who never realized the potential of his son as an artist. Munkkh's decision for becoming an artist was partially related with his father's ignorance. He obtained his education from Green Horse Mongolian Contemporary Art College, followed by Mongolian University of Fine Arts and Culture, Ulaanbaatar and later from Muthesius Fine Art College, Kiel, Germany.
After his study in Germany, Munkkh moved to Stockholm, where he stayed for 5 years. His first solo exhibitions appeared in Edsvik Konsthall, Sergels Torg and Gallery Haengmattan, Stockholm, Sweden. In 2012, he returned to Ulaanbaatar. Initially he joined Blue Sun Contemporary Art Group. Later in 2013, Munkkh together with his friends, multi-disciplinary artists Dorjderem Davaa, Davaajargal Tsaschikher and Gantulga Jargalnasan, established the Mongolian contemporary art movement, Human Nature Love Freedom. Until 2019, the group has been working together, showed 12 series of works in various public spaces and exhibition halls.
Since he moved to Mongolia, Munkkh's works have been displayed in Mongolia, the United States, Italy, Korea, Taiwan, China ad Germany. His works incorporates materials and objects found on the streets, construction sites and wasteland. Sometimes he destroys his works, uses torn pieces for the collage. In 2017, he was invited to represent Mongolia at the 57th La Biennale di Venezia. Titled Karma of Eating (2016), Munkhbolor's installation was about "the damages on the Mongolian ecosystem, especially those caused by the overbreeding of goats for the cashmere business".
2017 Dream of Blue Grass, at Art Space 976+, Ulaanbaatar, Mongolia
2015 Adjective, at Art Space 976+, Ulaanbaatar, Mongolia
2018 In/Is Land, at Kuandu Museum of Fine Art, Taipei, Taiwan
2018 Beyond Heaven and Earth: Mongolian Art in This Day and Age, at China Art Museum, Shanghai, China
2013 Amalgamated, at Gallery MC, New York, USA
Kastellaodren

Kastellaodren a oa ur gumun, e departamant Aodoù-an-Arvor, e norzh Breizh, war hanter etre Treger ha Goueloù. Kêr-benn istorel Bro-Oueloù an hini eo. Penn kanton e oa betek 2015.
Gerdarzh
Kendeuzet e oa bet gant Plagad d'ar 1añ a viz Genver 2019 d'ober ur gumun nevez : Kastellaodren-Plagad.
Niver a annezidi
Ar Vinic'hi

Ar Vinic'hi zo ur gumun e Breizh e Bro-Dreger, e kanton Landreger, departamant Aodoù-an-Arvor. Brudet eo evel parrez c'henidik Sant Erwan, ha setu perak e vez graet "Sant-Erwan" eus ar barrez alies.
Niver a annezidi
Ur vreserezh zo er Vinic'hi : Breserezh Touken, hag a ra Philomenn.
E 1998 e oa bet savet ur vreserezh all, Brasserie artisanale du Trégor, hag a rae Dremmwel ha Sant Erwann, met adprenet eo bet gant Britt hag e Tregon e vezont graet bremañ.
Hent-houarn Brest Roazhon

Ul linenn hent-houarn zo etre Roazhon ha Brest, niverennet 420000 en anvadur Réseau Ferré de France (RFF). An tamm eus al linenn Pariz-Brest a zo e Breizh eo e gwirionez.
Al linenn-mañ zo bet staliet etre 1857 ha 1865. E miz mae 1857 e voe digoret an troc'had Pariz-Roazhon, e miz Gwengolo 1863 e voe tizhet Gwengamp, ha Brest e 1865.
Etre 1987 ha 1989 e vo tredanaet al linenn. E 1990 e oa 58 tren ha 43 anezhe gant beajourien enne.
Nevesaet eo bet al linenn gant Rannvro Breizh er bloavezhioù 2010.
Dre astenn emañ ebarzhet tier-gar al linenn da Bariz hag a zo e Breizh.
Tredanet eo gant 25 000 V – 50 Hz. D'an 23 a viz Ebrel 1987 e oa bet tredanet al linenn eus Roazhon da Sant-Brieg, ha d'an 12 a viz Gwengolo 1989 e voe tizhet Brest
Dre ar reizhiad BAPR (Block Automatique à Permissité Restreinte) ha BAL Block Automatique Lumineux e vez meret ar c'hemennerezh a-hed al linenn.
Stlejerezioù 030 a veze implijet gant CCFO (Compagnie des Chemins de Fer de l'Ouest) war-dro ar bloavezhioù 1880, met chom a ra da wiriekaat e vezent implijet war al linenn-mañ.
Adalek 1855 e voe implijet ar stlejerezioù 111 Ar re 111 ne c'hellent ket stlejañ trenioù abalamour da ziribinoù serzh war al linenn Roazhon-Brest, setu ma voe implijet marc'hoù-du 121 fardet etre 1860 evit ar re gentañ ha 1888 evit ar re diwezhañ.
Goude-se e voe implijet stlejerezioù mod 220 ; unan anezhe a tizhas 138 km/e e 1889. Ar re 220-500, hag a voe degaset etre 1897 ha 1900, a voe implijet evit mont da Vrest.
Adalek 1896 e vo fardet stlejerezioù dre aezhenn e mod 230.
Da-heul e voe ar marc'hoù-du 231 Pacific, ar re gentañ e Bro-C'hall, hag a voe implijet war al linenn mañ adalek 1908.
Tri rummad tremenerezh a oa e 2008 e oa, hervez 3 rummad tremenerezh.
Rivière

Rivière (stêr e galleg) zo anv meur a lec'h ha meur a zen. Implijet eo bet gant Bro-C'hall evit treiñ kalz lec'hioù brezhonek ar ger stêr enno, okitanek (ribèra, riu), katalanek (riu) pe korsek (fiume), hag evit envel lec'hioù e Frañs-Nevez en Amerikaoù (Antilhez, Kebek, SUA...).
E galleg e kaver ar ger "rivière" e anv parrez Moisdon-la-Rivière, Maezon-ar-Stêr e brezhoneg, e su Kastell-Briant. Moisdon e galleg, Maèzon e gallaoueg ha Maezon e brezhoneg eo anv-orin ar barrez, « la-rivière » zo bet ouzhpennet diwezatoc'h.
Meur a stêr pe aber e Breizh-Izel zo bet troet e galleg gant ar ger « rivière » :
Kement-all eo bet graet gant ar melestradur gall e broioù all da treiñ anvioù ar stêrioù, da skouer ar stêr korsat fiume d'Olmeta (pennad gallek fr:Rivière d'Olmeta), pe ar stêr katalan ribera de Maurí troet e fr:Rivière de Maury.
Jules Arnous de Rivière

Jules Arnous de Rivière a zo bet ganet d'ar 4 a viz Mae 1830 en Naoned (Breizh) ha marvet d'an 11 a viz Gwengolo 1905 e Pariz (Bro-C'hall).
Mestrc'hoarier ha kazetennour echedoù breizhat, embanner ar gazetenn La Régence.
E 1858 e c'hoarias alies a-enep da Baul Charles Morphy. Trec'hiñ a reas ar Saoz Thomas Wilson Barnes, ar Gall Paul Journoud e 1860 hag an Hungarad Johann Jacob Löwenthal e 1867. E 1883 e koll a nebeud e Pariz (Bro-C'hall) a-enep da Vic'hail Tchigorin:+4 -5.
E renk Elo gwellañ a oa 2563 tizhet e miz Eost 1883.
Krouet e voe gantañ ur c'hleub echedoù e Naoned, orin ar gevredigezh a-vremañ anvet "Cercle d’Echecs de Nantes". Gant ar c'helc'h-mañ e oa bet savet an tournamant "Open" partiennoù fonnapl "Arnous de Rivière" e miz Meurzh 2007.
Joakim Gwilhom

Joakim Gwilhom pe Joakim Guilhom (1797-1857), Joachim Guillome er marilhoù-kêr, ganet e Malgeneg d’ar 1añ a viz Meurzh 1797 ha marvet e Kergrist d’ar 5vet a viz Here 1857, oa ur beleg breizhat eus Bro-Wened, yezhadurour ha skrivagner brezhonek, ur barzh eus ar re wellañ a-hervez.
Ganet en un tiegezh kouerien, e kêriadenn Bonarzh, e parrez Malgeneg, e c’hellas ober studioù uhel evit mont da vezañ beleg a-drugarez d’e eontr, lesanvet Gwilhom Vras, hemañ ur penn e-touez ar Chouanted a-raok mont da veleg ha bezañ anvet da berson e Gregam goude ar C’honkordat e 1804. Pa voe o studiañ e Skolaj Gwened e kemeras perzh da emsavadeg Skolajidi Wened aet da skarzhañ ar soudarded kaset gant an impalaer Napoleon e 1815. Beleget e 1821 e voe anvet da gure e Sine, ha diblaset e voe da Bleuwigner e 1828 p’en doe displijet d’an eskob abalamour d'e dro-spered. Ne voe ket anvet da berson a-raok 1841 e Kergrist, e-lec’h ma varvas e 1857. Koulskoude e chomas mignon d’ar prelad Yann-Vari ar Joubiouz, sekretour prevez an eskibien.
Huon Capet

Huon Capet, anvet ivez Huon Iañ ha Huon Bro-C'hall, bet ganet war-dro 940 ha marvet e 996, a oa dug ar Franked da gentañ (960-987) ha roue ar Franked goude (987-996). Gantañ e krogas tierniezh ar Gapetianed.
Mab e oa da Huon Veur ha d'e wreg Hadwig von Sachsen. Hêr e oa da lignez ar Roperzhidi, hag a oa o keveziñ gant tiegezhioù uhel Frankia en IXvet ha Xvet kantved. E dibenn an Xvet kantved e voe un dispac'h en armerzh hag er gevredigezh gant an difraostadegoù hag an eskemmoù o stankaat a-drugarez d'an diner arc'hant. Echu e oa an aloubadegoù bras, krog e oa ar brezelioù etre aotrouien, hag edod o sevel ar c'hastilli ma kavas ar gouerien repu enno. E-keit-se e savas ur rumm nevez, hini ar varc'heien, brezelourien anezho a gevezas gant ar berc'henned veur. Evit mestroniañ ar rumm nevez-se ha gwareziñ o madoù e klaskas an uhelidi hag an Iliz reiñ harp d'al lusk a anver Peoc'h Doue. D'ar mare-se neuze e c'hallas Huon Capet sevel e dierniezh.
War-dro 17 vloaz e oa Huon pa varvas e dad e 956. Resev a reas ar glad dastumet gant ar Roperzhidi araozañ : markizelezh Neustria ha titl dug ar Franked. Tutor Huon hag e vreudeur e oa Brunon, arc'heskob Köln ha breur d'an impalaer Otto Iañ, impalaer santel.
Dimezet e oa da Adelheid Akitania, ha bugale dezho :
Vieux-Pont-en-Auge

Vieux-Pont-en-Auge a oa ur gumun eus Bro-C'hall e departamant Calvados e Normandi.
Bodet e oa d'ar 1añ a viz Genver 2017 gant daouzek kumun all d'ober ur gumun nevez: Saint-Pierre-en-Auge.
Niver a annezidi
Kanton Pont-l'Évêque

Kanton Pont-l'Évêque a zo ur rann velestradurel eus Bro-C'hall e departamant Calvados hag er rannvro Normandi. Brasaet e oa bet da 48 kumun gant dekred ar 17 a viz C'hwevrer 2014.
Kanton Pont-l'Évêque a ya 20 kumun d'ober anezhañ:
Kanton Pont-l'Évêque a ya 48 kumun d'ober anezhañ:
Pont-Marzhin

Pont-Marzhin zo ur gumun e Breizh e Liger-Atlantel (Bro-Raez), e gevred ar vro.
E Bro-Raez emañ ar gumun. Bevennet eo gant ar Lenn Veur er Mervent. Treuzet eo gant ar stêr Ognon. E 13 km e Su Naoned emañ, ha 12 km e Norzh Sant-Filberzh-Deaz.
Gounezet e vez Muskadig ha legumaj dreist-holl.
Hervez ar vojenn e savas Marzhin Gwerzhav ur pont eno evit kevreañ Breizh ouzh Poatev-izel.
Krouet e voe kumun Pont-Marzhin e 1790 diwar ar barrez katolik. Lakaet e voe e Kanton Bouez hag e Bann Naoned. 18% eus ar boblañs a varvas e-pad Brezel Vendée. E 1800 e voe lakaet en Arondisamant Naoned.
Krouet e voe kumun Kersoren e 1865 diwar lodennoù eus kumunioù Bignon, Pont-Marzhin ha Gwerzhav.
Mervel a reas 75 gwaz ag ar gumun abalamour d'ar brezel, da lavaret eo 4,86% eus he foblañs e 1911.
Brezel Aljeria: mervel a reas ur milour eus ar gumun d’an 13 a viz Kerzu 1958 hervez monumant ar re varv.
Lakaet e voe ar gumun e Kanton Reudied-1 pa voe diskaret Kanton Bouez e 2014.
Peulvanoù Dames des pierres.
Niver a annezidi
Roll kumunioù Aodoù-an-Arvor

Setu amañ roll an 348 kumun a zo en Aodoù-an-Arvor renket hervez urzh al lizherenneg, gant o c’hod INSEE hag o c’hod-post, hag ivez ar c'humuniezhioù tolpadoù int stag outo. Gwelet ivez roll ar c'hantonioù.
Kumuniezh kumunioù Kreiz Aodoù-an-Arvor Galloud 4

Kumuniezh-kumunioù Kreiz Aodoù-an-Arvor Galloud 4 (berraet e Kag4) a oa un etrekumuniezh (ur gumuniezh-kumunioù) eus departamant Aodoù-an-Arvor, e Breizh. Un darn eus Bro Sant-Brieg eo. D'ar 1añ a viz Genver 2017 e oa deuet da vezañ Sant-Brieg Arvor Tolpad-kêrioù, goude kendeuziñ gant teir etrekumuniezh-all hag ur gumun eus Kumuniezh kumunioù Bro Monkontour.
Edo he sez e Ploheg. He frezidant diwezhañ oa Joseph Le Vée, maer Pleneventer
Tri c'humun a yae d'ober anezhi:
Bodet e oa Ploheg gant Peniti-Koedrac'h d'ar 1añ a viz Genver 2016 d'ober ur gumun nevez: Ploheg-Peniti.
Kantonioù Aodoù-an-Arvor

Rannet e oa bet departamant Aodoù-an-Arvor e 27 kanton gant dekred an 13 a viz C'hwevrer 2014.
Daou guzulier departamant a zo dilennet e bep kanton.
Roll an 52 ganton a oa en Aodoù-an-Arvor, arondisamant hag arondisamant :
Kumunioù Aodoù-an-Arvor
Fulgence Bienvenüe

Fulgence Bienvenüe (French pronunciation: [fylʒɑ̃s bjɛ̃v(ə)ny]; 27 January 1852 – 3 August 1936) was a French civil engineer, best known for his role in the construction of the Paris Métro, and has been called "Le Père du Métro" (Father of the Metro).
A native of Uzel in Brittany, and the son of a notary, in 1872 Bienvenüe graduated from the École Polytechnique as a civil engineer and the same year he began working for the Department of Bridges and Roads at Alençon. His first assignment was the construction of new railway lines in the Mayenne area, in the course of which his left arm had to be amputated after being crushed in a construction accident.
In 1886, Bienvenüe moved on to Paris to design and supervise the construction of aqueducts for the city, drawing water from the rivers Aube and Loire. Next, he built a cable railway near the Place de la République and created the park of Buttes-Chaumont.
Paris city officials selected Bienvenüe to become chief engineer for the Paris Métro in 1896. He designed a special way of building new tunnels which allowed the swift repaving of the roads above; this involved (among other things) building the crown of the tunnel first and the floor last, the reverse of the usual method at that time. Bienvenüe has the credit for the mostly swift and relatively uneventful construction of the Métro through the difficult and heterogenous Parisian soils and rocks. He came up with the idea of freezing wet and unstable soil in order to permit the drilling of tunnels. He was to supervise the Paris Metro construction for more than three decades, finally retiring on 6 December 1932.
Bienvenüe's construction of the Métro was widely praised and has been described admiringly as a work "worthy of the Romans". He eventually accumulated many honors for his engineering accomplishments, including the Grand Prix Berger of the Academy of Arts and Sciences (1909) and the Grand Cross of the Legion of Honor (1929).
On 30 June 1933, the Avenue du Maine station on the Metro was renamed Bienvenüe in his honor. The naming ceremony took place in his presence; there was a last-minute scramble to repaint the station's new nameboards when it was discovered that the unusual diaeresis in his name had been omitted, making it the French word for "welcome". In 1942 the station was linked to the adjacent Montparnasse station, forming a single station named Montparnasse-Bienvenüe.
Bienvenüe was buried in 1936 at the Père Lachaise Cemetery, Paris.
Lycée Fulgence Bienvenüe [fr] high school in Loudéac, Brittany is named after Bienvenüe.