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quarta-feira, 31 de dezembro de 2014

Mostra arqueológica e histórica de Ilhabela, São Paulo, Brasil. Vestígios e tradições

Os vestígios guardam pedaços de histórias, costumes e tradições marcadas em pequenos fragmentos que sobrevivem ao tempo. Encontramos nos vestígios materiais um pouco sobre a cultura de povos do passado mais remoto até os dias atuais, e percebemos neles como tradições e costumes se mesclam, se recriam e são mantidos por longas gerações. 

A parir de nosso acervo histórico e arqueológico traçamos na linha expositiva o encontro entre diferentes sociedades, com seus conflitos e trocas, passando pelo cotidiano colonial e impacto no surgimento das populações caiçaras, ao contato entre os índios e as primeiras populações sambaquieiras que viveram aqui há 2.000 anos. 

Ilhabela possui muitos tesouros arqueológicos ainda guardados no seio de suas terras e no interior de seus abrigos e grutas. Alguns deles já descobertos podem ser vistos nesta exposição, que traz ao público parte de um patrimônio de grande valor histórico e cultural.

Abertura: 30 de dezembro de 2014
Local: Parque da Usina (Parque Municipal das Cachoeiras) – Ilhabela/SP

Marla Prado

Pesquisa e Arqueologia:
Alexandre Hering
Cássia Bars Hering
Marla Prado

Cássia Bars Hering
Marla Prado
Arte Gráfica:
Caio Bars

Arqueologika – Assessoria e Consultoria em Arqueologia

Prefeitura Municipal de Ilhabela
Secretaria Municipal da Cultura de Ilhabela
Fundaci - Fundação Arte e Cultura de Ilhabela
IHGAI - Instituto Histórico, Geográfico e Arqueológico de Ilhabela

Mostra arqueológica e histórica de Ilhabela, São Paulo, Brasil. Vestígios e tradições
fonte: Marla Prado @edisonmariotti #edisonmariotti 

terça-feira, 30 de dezembro de 2014

India's 'Banksy' behind provocative graffiti

An artist who's been compared to Banksy is gripping audiences on the streets of an Indian city - and online.
Pictures of Guesswho's graffiti on walls and buildings in Kochi (Cochin), in Kerala state on India's southwest coast, are catching attention on the photo-sharing sites, Facebook and Reddit

Kochi is in the midst of a huge art biennale, and Guesswho's graffiti seems to be a poke at the organised festival. The stencils are a clever mash-up of Western pop culture with Indian icons, and the artist's (or artists') style is certainly influenced by that anonymous yet famous British street artist, Banksy.

Guesswho spoke to BBC Tamil and BBC Trending: he or she wouldn't reveal their identity to us, but they did agree to answer some questions via email.

What can you tell us about yourself? Are you one artist or several? Male or female?

Somebody who likes graffiti.

Do you have a political point? What's your message?

I don't believe it is art's purpose to send any message. It was mainly an alternative way to use a visual language that people are unfamiliar with here. But at the same time they can connect and communicate with the image and subject while being subtly political. It is also about using public spaces and subversive tactics as potent means of speaking about social realities.

The superheroes and Shikari Shambu with Appi Hippi (a character from a cartoon strip) pieces were done in response to the Kiss of Love campaign that has been going on here. [BBC Trending previously covered the debate over 'immoral acts' in public] People who were coming on to the streets to kiss and protest are being arrested. But what if fictional characters do the same? Do they arrest them too?

What are you hoping to achieve?

Unfortunately we don't have a culture of graffiti here [in India] and there aren't many artists who choose to depart from the hierarchies and definitions imposed by the traditional art institutions. It's an effort as a visual artist to start looking for new and meaningful ways to engage a wider audience and inspire more people to take up this as a powerful medium of free expression.

What reaction have you got?

Absolutely amazing so far. Totally unexpected to be honest. Never thought people who don't otherwise care about art and stuff would start talking about it. It certainly seems to have created an interest and opened up doors.

What kind of risks are you taking - what would happen if you get caught?

As long as the images and subjects aren't very provocative and explicit in nature, which is the case now, it should be ok. But the day it becomes otherwise, it could be a problem and one could land in serious trouble.

Graffiti's against the law. What do you say to people who argue it's just vandalism?

Why just point your fingers at graffiti? We live in a visually polluted place. The streets and walls are flooded with movie posters, advertisements, election campaign signs and notices. Are those against the law? Can those also be called vandalism?
Guesswho says: 'On the day India successfully sent a spacecraft into orbit around Mars, a tweet with a picture of female scientists celebrating was an inspiration.'

Do you really think you can keep your identity secret? The Times of India reported that they guessed who you were and rang you.

It is not a question about if one wants to keep the identity a secret, but whether others would understand the reasons behind that and respect it.

What are your future plans - do you plan to post artwork beyond Kochi? Tackle different subjects? Hang your work in art galleries?

I would certainly love to expand, explore new cultures and do works that are relevant to the cultural characteristics and landscapes of each place. Yes, there are a few things in the pipeline. An alternate medium like graffiti finding a place in a mainstream gallery space would be a very interesting thing to see, but that isn't something new in the West though.

You made a route map of your graffiti in Kochi. Have any of the works been whitewashed yet?

Yes, some of them have been. But isn't it the characteristics of this medium and taken as part of the process?

Finally, do you mind being compared to Banksy?

That would be too much of a compliment ... He has been in the business for decades and has very high standards that not many can catch up to. But of course, as a new kid in the block, would certainly love to know about his thoughts on these works and hope to meet him one day.

Guesswho says: 'Re-imagining popular and iconic images is not really a new tradition in street art. But to use it with reference to the cultural characteristics of the location was the key. The public need to see more unconventional portrayals of women. '

A modern retake of a famous painting by Ravi Varma. Guesswho says the picture was quickly removed by the authorities, citing obscenity as the main reason.

Interview by Samiha Nettikkara and Samanthi Dissanayake

Edited by Mike Wendling fonte: @edisonbmariotti #edisonmariotti
You can follow BBC Trending on Twitter @BBCtrending
All our stories are at


Nuestras vidas están jalonadas de objetos.

Archivo EVE

Toda la teoría didáctica sobre el objeto en la exposición es perfectamente aplicable a nuestra memorabilia particular, a nuestro contexto doméstico como si fuera un museo. Todos los objetos que vamos reuniendo a lo largo de nuestra vida nos definen de una manera u otra. Son muchos los objetos que nos acompañan a lo largo de toda nuestra vida, por supuesto otros no, algunos solo un tiempo. Nacemos rodeados de objetos e imágenes y con ello convivimos, algunos de estos objetos se hacen imprescindibles como acompañantes vitales en nuestro mundo íntimo y particular, incluso el compartido, algunos nunca acabarán en una caja, otros sí.

Archivo EVE

No es una banalidad pensar que los objetos pueden definir nuestras vidas, y que constituyen o están relacionados con momentos muy importantes de nuestra existencia. Los objetos pueden convertirse en las albaceas de nuestra memoria, depositarios de recuerdos y emociones, muchos de ellos dibujando nuestra forma de ser y actuar a lo largo de la vida. Los seres humanos tenemos inclinación a relacionar momentos con objetos en todos nuestros ámbitos vitales, incluso guardamos objetos relacionados con nuestras creencias más íntimas. Los humanos salvaguardamos de entre todo lo nuestro los objetos que son símbolos, referencias vitales importantes para nosotros; puede ser una foto, una muñeca, el regalo de alguien, un posavasos con un número de teléfono ya casi borrado… Observamos nuestros objetos personales desde el sofá, mirando a la librería, y sonreímos, o nos entristecemos, siempre generarán una emoción en nosotros y para eso existen en realidad.

Archivo EVE

Muchas mujeres y hombres guardamos en nuestros hogares objetos cuya utilidad práctica realmente no existe, pero que son refugios emocionales, un apoyo íntimo y personal que reafirma si cabe nuestra existencia. En nuestra cultura occidental, basada en gran parte sobre la historia, nos definimos a partir de algunos objetos que nos acompañaron en nuestra infancia; pueden ser juguetes, ropa, regalos, fotografías, un botón, una flor reseca dentro de un libro… A lo largo de nuestra juventud nuestros padres guardan aquello que consideran que formó parte de nuestros éxitos personales si los hubo, o incluso la gloria familiar: trofeos deportivos, medallas, fotos de graduación, diplomas, recuerdos de amigos, incluso ya hay empresas que convierten nuestros recuerdos en esculturas de bronce. Y los objetos en el transcurrir de nuestra vida adulta se amontonan, como los de las bodas si uno se ha casado, prendas y recuerdos comprados en los viajes, imanes para el frigorífico, joyas, obras de arte, herencias de nuestros abuelos, otros recuerdos de nuestros seres amados que ya no están, y mucho más. Guardamos todo aquello que nos pone en contacto emocional con lo que ha sido nuestro.

Archivo EVE

Durante la vejez, los objetos del recuerdo están más presentes que nunca antes, cobran todo su vigor; cuando el futuro se hace más corto que el pasado, los humanos nos volcamos evocando nuestros recuerdos de vida. De esta forma, nuestros hogares, hoy en día normalmente siendo muy pequeños, con gran falta de espacio, se van acumulando objetos que, si los reuniéramos todos a la vista, podrían hablar sobre nosotros, explicando quienes somos, resucitando nuestra memoria incluso de aquellos hechos ya olvidados. Construimos nuestra identidad personal a partir de los objetos que son los verdaderos soportes de nuestra memoria, exactamente igual que los museos guardan nuestra memoria colectiva. Por eso son tan importantes.


Ilustración: Stéphane Lauzon

Museu2009 - Retrospectiva


fonte: @edisonmariotti


feliz 2015

Le Musée national de Zurich a connu un record d'affluence en 2014

Malgré des travaux d'agrandissement, le Musée national de Zurich a enregistré une fréquentation record cette année avec près de 227'000 entrées.

Le Musée national de Zurich. [Gaetan Bally - Keystone]

Le Musée national de Zurich a d'ores et déjà enregistré un record de fréquentation en 2014. Près de 227'000 entrées ont été comptabilisées, soit 13'000 de plus qu'en 2012, année du dernier record. Les travaux d'agrandissement qui battent son plein n'ont pas rebuté les visiteurs.

"Un des facteurs de ce succès est le programme varié", a estimé lundi le musée d'histoire le plus fréquenté de Suisse. Les expositions ont fait la part belle aussi bien aux contes, à la photographie de presse, à "Charlemagne et la Suisse" ou encore à "La Suisse et la Grande Guerre".
Nouveau site internet

Le Musée national mise aussi sur une présence renforcée sur internet avec un nouveau site. Il offre également depuis peu des visites guidées en russe.

Du côté du chantier, le gros oeuvre a pu être achevé dans les temps. Les aménagements intérieurs ont commencé et l'inauguration est prévue en 2016.

fonte: @edisonmariotti #edisonmariotti

segunda-feira, 29 de dezembro de 2014

Massive 5,000-year-old underground city uncovered in Cappadocia, Turkey

The region of Cappadocia in central Turkey is home to one of the most spectacular landscapes in the world – deep valleys and soaring rock formations dotted with homes, chapels, tombs, temples and entire subterranean cities harmoniously carved into the natural landforms. Cities, empires and religions have risen and fallen around these unique underground havens, and yet it seems they still hold a few more secrets. Archaeologists in Turkey have uncovered another massive underground city in Cappadocia, consisting of at least 7 kilometers (3.5 miles) of tunnels, hidden churches, and escape galleries dating back around 5,000 years.

 Massive 5,000-year-old underground city uncovered in Cappadocia, Turkey

Calling it the “biggest archeological finding of 2014”, Hurriyet Daily News announced that the ancient city was found beneath Nevşehir fortress and the surrounding area, during an urban transformation project carried out by Turkey’s Housing Development Administration (TOKİ).

“Some 1,500 buildings were destructed located in and around the Nevşehir fortress, and the underground city was discovered when the earthmoving to construct new buildings had started,” writes Hurriyet Daily News.

Nevşehir province in Cappadocia, Turkey

Nevşehir province in Cappadocia, Turkey
Nevşehir province in Cappadocia, Turkey (Wikimedia Commons)

Nevşehir province is already famous for its incredible subterranean city at Derinkuyu (pictured in featured image), which was once home to as many as 20,000 residents living together underground. It is eleven levels deep and has 600 entrances and many miles of tunnels connecting it to other underground cities. It incorporates areas for sleeping, stables for livestock, wells, water tanks, pits for cooking, ventilation shafts, communal rooms, bathrooms, and tombs.

A reconstruction of what the Derinkuyu underground city is believed to have looked like

A reconstruction of what the Derinkuyu underground city is believed to have looked like
A reconstruction of what the Derinkuyu underground city is believed to have looked like (Wikipedia)

It is hard to imagine anything surpassing the Derinkuyu underground city in both size and scope, but archaeologists are saying they have reason to believe the newly discovered subterranean city will be the largest out of all the other underground cities in Nevşehir and may even be the largest underground city in the world.

Details regarding the dating of the site and how this was carried out, have not yet been released by those involved. However, researchers have reported retrieving more than forty artifacts from the tunnels so far, so archaeologists may have reached the estimated date of 5,000 years based on those. Numerous other known underground sites in Cappadocia have also been dated to this era.

Despite pouring 90 million Turkish Liras into the urban transformation project so far, the TOKİ has said it will move now move their project to the outskirts of the city so that the newly found city, which is now officially registered with the Cultural and National Heritage Preservation Board, can be investigated and preserved. TOKİ Head Mehmet Ergün Turan told Hurriyet Daily News that they do not view this as a loss considering the importance of the discovery.

“Hasan Ünver, mayor of Nevşehir, said other underground cities in Nevşehir’s various districts do not even amount to the “kitchen” of this new underground city,” reports Hurriyet Daily News.

Through the ages, the Hittites, Persians, Alexander the Great, Rome, The Byzantine Empire, Ottoman Empire, and Turkey have all governed the spectacular region of Cappadocia in Central Anatolia. One hundred square miles with more than 200 underground villages and tunnel towns complete with hidden passages, secret rooms and ancient temples and a remarkably storied history of each new civilization building on the work of the last, make Cappadocia one of the world's most striking and largest cave-dwelling regions of the world. Now a discovery has been made that may overshadow them all.

The incredible cave houses of Cappadocia, Turkey

The incredible cave houses of Cappadocia, Turkey

The incredible cave houses of Cappadocia, Turkey. Source: BigStockPhoto

Featured image: Derinkuyu underground city in Cappadocia, Turkey. Source: BigStockPhoto
- fonte: @edisonmariotti #edisonmariotti

New research may solve mystery of enigmatic Sanxingdui civilization of China

Amid the once-tranquil village of Sanxingdui, in a quiet part of Sichuan province in China, a remarkable discovery took place which immediately attracted international attention and has since rewritten the history of Chinese civilization. Two giant pits were unearthed containing thousands of gold, bronze, jade, ivory and pottery artifacts that were so unusual and unlike anything ever found in China before, that archaeologists realised they had just opened the door to an ancient culture dating back between 3,000 and 5,000 years. However, the prime of Sanxingdui Culture came to an abrupt end in around 1,000 BC, and until now, the reason for its demise was a mystery.

New research presented at the 47th annual meeting of the American Geophysical Union in San Francisco on December 18, suggests that the disappearance of the Sanxingdui culture may be due to an earthquake that occurred around 3,000 years ago. LiveScience reports that the quake caused catastrophic landslides, which blocked the civilization’s main water supply, and diverted it elsewhere. Researchers have theorized that the Sanxingdui people may have moved closer to the new river flow.
The discovery of the Sanxingdui culture

In the spring of 1929, a farmer was digging a well when he discovered a large stash of jade relics. This was the first clue that eventually led to the discovery of a mysterious ancient kingdom. Generations of Chinese archaeologists searched the area without success until 1986, when workers accidentally found the pits containing thousands of artifacts that had been broken, burned, and then carefully buried.

The discovery of the artifacts opened up a world of intrigue. The objects found in the sacrificial pits included animal-faced sculptures and masks with dragon ears, open mouths and grinning teeth; human-like heads with gold foil masks; decorative animals including dragons, snakes, and birds; a giant wand, a sacrificial altar, a 4-metre tall bronze tree; axes, tablets, rings, knives, and hundreds of other unique items. Among the collection was also the world’s largest and best preserved bronze upright human figure, measuring 2.62 metres (8 feet).

A sacrificial altar with several four-legged animals at the base to support a few bronze figures closely resembling the large face masks

A sacrificial altar with several four-legged animals at the base to support a few bronze figures closely resembling the large face masks 
A sacrificial altar with several four-legged animals at the base to support a few bronze figures closely resembling the large face masks, each holding in outstretched hands a ceremonial offering of some sort. (Wikipedia)

However, by far the most striking findings were dozens of large bronze masks and heads represented with angular human features, exaggerated almond-shaped eyes, straight noses, square faces, and huge ears. The artifacts were radiocarbon dated to the 12th-11th centuries BC. They had been created using remarkably advanced bronze casting technology, which was acquired by adding lead to a combination of copper and tin, creating a stronger substance that could create substantially larger and heavier objects, such as the life-size human statue and the 4-metre tall tree.

Sanxingdui bronze heads with gold foil masks

Sanxingdui bronze heads with gold foil masks
Sanxingdui bronze heads with gold foil masks (Wikipedia)
The advanced civilization of the Sanxingdui

The ancient artifacts found in the two pits date to the time of the Shang dynasty, in the late second millennium BC, when the primary civilised society was flourishing in the Yellow River valley, in north China, thousands of miles from Sichuan. No similar find has been made anywhere else, and there are no inscriptions at the Sanxingdui site to shed light on its culture, which was apparently a distinctive Bronze Age civilization, unrecorded in historical texts and previously unknown. The discovery contributed to a fundamental shift from the traditional understanding of a single centre of civilization in north China to the recognition of the existence of multiple regional traditions, of which Sichuan was clearly one of the most distinct.

A metropolis of its time, covering about three square kilometres, Sanxingdui had highly developed agriculture, including winemaking ability, ceramic technology and sacrificial tools and mining was commonplace. According to archaeological findings, the settlement at Sanxingdui was abandoned suddenly around 1,000 BC. For reasons that are still unknown, the prime of Sanxingdui Culture came to an abrupt end.
The demise of the Sanxingdui

The new research conducted by scientists from Tsinghua University in China investigated what could have caused their sudden disappearance. The most popular explanations until now have been either war or flood, but neither view is supported by substantial evidence.

Study co-author Niannian Fan, a river sciences researcher at Tsinghua University, said that archaeologists now believe the culture intentionally dismantled itself about 3,000 and 2,800 years ago and moved to an area called Jinsha near Chengdu. This is suggested by the discovery of a gold crown at Jinsha with a similar engraved motif of fish, arrows, and birds, as that found on a gold staff found at Sanxingdui.

Researchers turned to historical records to find out why the Sanxingdui up and left their city. They found that in 1099 BC, there was a large earthquake in the capital of the Zhou dynasty, in Shaanxi province.

“Around the same time, geological sediments suggest massive flooding occurred, and the later-Han dynasty document ‘The Chronicles of the Kings of Shu’ records ancient floods pouring from a mountain in a spot that suggests the flow being rerouted,” writes LiveScience.

Map of Sanxingdui

Map of Sanxingdui
Map of Sanxingdui (Wikipedia)

Fan and his colleagues propose that the earthquake triggered a landslide that dammed the river high up in the mountains, rerouting its flow, and reducing the water supply to Sanxingdui.

The research team admit that their theory is still speculative and more research is needed to confirm it. But even if this does account for why the Sanxingdui had to move, it does not explain why they buried their most precious artifacts in two pits and why no significant traces of their cultures are found elsewhere. There is still much to be learned about the mysterious civilization of Sanxingdui.

Featured Image: Golden Masks from Sanxingdui (Wikipedia)

- fonte:@edisonmariotti #edisonmariotti