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quinta-feira, 23 de outubro de 2014

Ethnologisches Museum -


Ansicht der Dauerausstellung

© Staatliche Museen zu Berlin, Ethnolgisches Museum / Achim Kleuker The collections of the Ethnologisches Museum (Ethnological Museum) comprise outstanding examples of material and immaterial goods that were created outside of Europe and brought to Berlin in the 19th and early 20th centuries. Divided into geographic regions and arranged in thematic displays, the presentations of the collections convey fascinating insights into the diversity of non-European cultures:


Ansicht der Dauerausstellung

© Staatliche Museen zu Berlin, Ethnolgisches Museum / Achim Kleuker



The exhibition 'Art from Africa' portrays developments in African art history, illustrating the religious and social significance of sculptures and everyday objects, while 'Africa in Berlin' takes a closer look at the manifold relations between Africa and Europe.

Archaeological artefacts featured in the exhibition 'American Archaeology' – ranging from painted pottery to stone figures of gods and exquisite gold objects – date from as far back as 2000 BCE and demonstrate the rich cultural heritage of pre-Spanish cultures in Central and South America.

A particular attraction is the presentation of the South Seas collection. True-to-scale exhibits of boats and spectacular houses typical of Oceania recreate the atmosphere of the Pacific islands. The vivid colour and variety of artistic expression is revealed through the exhibition of objects and artworks, ranging from ceramic vessels to photographs.

The exhibition “Myth of the Golden Triangle” shines a spotlight on ethnic minorities in Southeast-Asia.
Since 2011, the exhibition 'Islamic Worlds' presents different perspectives of the Muslim experience throughout history in the context of tradition, religion and modernity.

As the largest partner involved in the Humboldt-Forum, the Ethnologisches Museum will move its collections to Schlossplatz in the centre of Berlin in the near future with plans to reorganise and introduce new concepts to the presentation of the museum’s holdings.

The JuniorMuseum is affiliated to the Ethnologisches Museum and introduces children between the ages of four and eight to non-European products, ways of thinking and customs. The current exhibition 'That's What We Eat – We Eat Rice' focuses on this staple of Southeast Asia. 
 
fonte: @edisonmariotti #edisonmariotti http://www.smb.museum/en/museums-and-institutions/ethnologisches-museum/home.html?tx_smb_pi1[filterMuseum]=5&cHash=5cdd3adcf10eae501ec0b4af0f0ba996

Museu Ciência e Vida - História das primeiras mulheres cientistas do Brasil - Rua Ailton da Costa, s/n - Jardim Vinte e Cinco de Agosto, RJ, 25071-160

A história das mulheres que contribuíram para o desenvolvimento científico do país é o tema da exposição "Pioneiras da Ciência no Brasil", que será aberta ao público no dia 30 de outubro, às 10h, no Museu Ciência e Vida. A inauguração contará com a presença de Eloisa Biasotto Mano, uma das cientistas de destaque da exposição, e de Ligia Rodrigues e Hildete Araújo, organizadoras do livro que inspirou a exposição, editado pela Sociedade Brasileira para o Progresso da Ciência.


Ao contar a trajetória de vida dessas mulheres cientistas, a exposição pretende estimular a reflexão sobre a igualdade de gênero e desfazer preconceitos da sociedade. Na narrativa apresentada, é possível perceber que elas representam um contraponto a um histórico de exclusão das mulheres da pesquisa científica à época, superando barreiras culturais que afastavam a ideia da mulher como cientista. São, portanto, histórias de determinação, de pioneirismo e de superação.

A exposição é fruto de uma parceria entre a Fundação Cecierj, a Secretaria de Ciência e Tecnologia do Estado do Rio de Janeiro e o Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq). A entrada é gratuita e o agendamento de turmas para visitação pode ser realizado pelo telefone: 2671-7797.
 
Serviço:
Pioneiras da Ciência no Brasil
Data: 30 de outubro, 10h
Local: Museu Ciência e Vida
Rua Ailton da Costa, s/n - Jardim Vinte e Cinco de Agosto, RJ, 25071-160
Telefone: (21) 2671-7797
Gratuito
 
 

fonte: @edisonmariotti #edisonmariotti http://museucienciaevida.com.br/index.php?option=com_content&view=article&id=293:exposicao-traz-historia-das-primeiras-mulheres-cientistas-do-brasil&catid=50:topazul&Itemid=166

Museu Militar Conde de Linhares ( RJ ) .br - convidam todos para o Encontro de Corais




Os integrantes do Museu Militar Conde de Linhares ( RJ )  .br - convidam todos para o Encontro de Corais, que será realizado, hoje, dia 23 de novembro, às 19:00 horas.
Esperamos por todos!

fonte: @edisonmariotti

Museu do Oriente mostra tecidos ikat indonésios resultado de técnica em vias de extinção

Uma exposição dedicada aos tecidos ikat indonésios, resultado de uma arte em vias em extinção, proveniente de uma das maiores coleções do mundo, vai ser inaugurada na quinta-feira, no Museu do Oriente, em Lisboa.

De acordo com o museu, as peças patentes na exposição "Linguagens Tecidas" pertencem à Coleção Pusaka, de Peter Ten Hoopen, escritor holandês residente em Portugal há vários anos, que a iniciou por ocasião de uma viagem à Indonésia na década de 1970.

Nessa década, Peter Ten Hoopen percorreu as ilhas indonésias comprando diversos exemplares, tendo continuado a colecionar os tecidos, adquirindo-os a particulares ou em leilões em todo o mundo.

A mostra - que ficará patente até 25 de janeiro de 2015 - aborda estas técnicas e a profusão das tradições indonésias de tecelagem.

Serão apresentados alguns dos exemplares mais raros de têxteis ikat, nomeadamente os xailes ikat de seda, com brocado dourado, os ikat duplos balineses, de Tenganan, e os ikat de Los Palos, em Timor-Leste.

A exposição apresenta obras que representam esta arte da tecelagem do arquipélago indonésio, desde Sumatra, do Bornéu e de Timor-Leste, incluindo exemplares de ilhas remotas. 
 
 
fonte: @edisonmariotti #edisonmariotti http://www.rtp.pt/noticias/index.php?article=776117&tm=4&layout=121&visual=49

Cerimônia de Entrega do Laboratório de Arqueologia do Museu Amazônico ocorre no dia 23 de outubro


A Magnífica Reitora da Universidade Federal do Amazonas, Professora Doutora Márcia Perales Mendes Silva e o Senhor Leonardo Clemente, Gerente de Implantação de Empreendimentos de Gás e Energia- PETROBRÁS, têm a honra de convidar para a cerimônia de entrega do Prédio do Laboratório de Arqueologia do Museu Amazônico, resultado do convêmio entre a FUA, PETROBRÁS E IPHAN.

O evento ocorre no dia 23 de outubro de 2014, às 16:30h, no Laboratório de Arqueologia, localizado no Mini-Campus, Setor Sul, depois do LAPEC.

fonte: @edisonmariotti #edisonmariotti http://www.ufam.edu.br/index.php/eventos/3131-cerimonia-de-entrega-do-laboratorio-de-arqueologia-do-museu-amazonico-ocorre-no-dia-23-de-outubro

Cinco anos e 52 milhões depois, reabre o Museu Picasso de Paris

Derrapagem orçamental e diretora conflituosa atrasaram a inauguração do museu, encerrado há cinco anos. Em 2015, estima-se que receba um milhão de visitantes.













No próximo sábado, dia 25 de outubro, data em que Picasso faria 133 anos, reabre em Paris o espaço dedicado unicamente às obras e memórias do pintor espanhol, um dos mais influentes artistas do século XX.

A fasquia está elevada: espera-se que, durante o próximo ano, o renovado museu atraia entre 700 mil a um milhão de visitantes. O palacete no alto Marais, em Paris, que se converteu na sede do Museu Picasso em 1985, voltará a abrir portas cinco anos após o encerramento, na altura devido à necessidade de renovações urgentes no edifício. A intervenção ampliará para 5700 metros quadrados o espaço para exposição no edifício.

Mas, conforme conta o El País, tudo o que podia correr mal, correu ainda pior: neste intervalo de tempo, as obras, que estavam avaliadas em 19 milhões de euros, acabaram por ficar 33 milhões acima do previsto, num total de 52 milhões de euros.

Para cobrir a diferença, foi necessário organizar exposições itinerantes do espólio do museu, que tiraram partido da impressionante coleção de cinco mil pinturas, desenhos e esculturas da autoria de Picasso. É considerada a coleção mais completa do mundo no que a Picasso diz respeito e beneficiou das doações da família após a morte do pintor.

Mas a derrapagem orçamental não foi o único revés na modernização do Museu Picasso. Anne Baldassari, a diretora do museu que tinha concebido a renovação em 2005, foi despedida pelo Ministério da Cultura francês, em resposta aos conflitos que a opunham a grande parte da equipa da instituição: todos os conservadores exigiam que Baldassari fosse destituída pela "brutalidade dos seus métodos" e pelo "clima de medo" que se vivia no museu.

fonte: @edisonmariotti #edisonmariotti http://www.dn.pt/inicio/artes/interior.aspx?content_id=4194691

How the RAF Museum is conserving the world's last remaining World War Two Dornier bomber


How do you conserve a fragile, barnacle-encrusted German bomber? Culture24 speaks to the man leading the Dornier 17 conservation at RAF Museum Cosford


The Dornier heads into the conservation centre at RAF Museum Cosford© RAF Museum

The dramatic recovery of a World War Two Dornier 17 from the sea off Ramsgate hit the headlines in 2013 as the RAF Museum won its battle against the elements to ‘save’ the last German bomber of its kind anywhere in the world.

Beset with difficulties, the rescue operation eventually brought the ravaged relic to the surface - 73 years after it had sunk beneath the waves - in a state that actually resembled an aeroplane, with a large proportion of fuselage, wings and propellers pretty much intact.

The tail section may have been in bad shape and all the glazing and weaponry was missing. But when it finally emerged from the depths, the sleek shape of the Dornier Do-17 - referred to as the "flying pencil" by its aircrew - was unmistakeable.

Beyond the drama and elation of retrieving an identifiable relic downed during the Battle of Britain, there was an even bigger challenge ahead: how to preserve a fragile aluminium aircraft buffeted by waves, colonised by sea creatures and effectively sand blasted by sea currents for 70-odd years.

After a clean on the dockside at Ramsgate, the Dornier finally arrived at RAF Museum Cosford in summer 2013 as two fuselage parts, a pair of wings, tonnes of silt and sand and thousands of barnacled artefacts.



The Dornier emerges from its watery grave© RAF MuseumA meticulous treatment with a citric acid formulation - specially developed by University College London - has now helped to safely remove most of the barnacles, sea life, salt and other corrosive elements within a series of specially designed poly irrigation tunnels.

This process of timed hydration was expected to take a couple of years. But as Conservation Manager Darren Priday explains, the main fuselage section is already out of its protective environment and inside the Michael Beetham Conservation Centre at Cosford.

“We anticipated a couple of years in the irrigation tunnels receiving the citric acid treatment,” he says. “But fortunately the forward fuselage came out of the tunnels this summer.”

For Priday and his team of apprentices, technicians and more than 70 volunteers, the real hard work has begun.

“As I explain to people who visit the Conservation Centre, to remove 90% of the deposit takes 10% of the time but the last 10% of the deposit takes 90% of the time because you are getting close to the areas you just don’t want to damage, so it’s very delicate work.

“Everybody working on the project realises it’s a very fragile object - the manufacture of the aircraft is 20 gauge which is about 0.9millimetres - so we’re using the plastic scrapers and being very careful.

"Conservators know that the plane they are working on might have a piece of glass or paper attached and they try to preserve these as much as the metal parts."

The wings, meanwhile, are still in the poly irrigation tunnel, having had “many tonnes” of silt and sand removed from within them.

“Even though we had done that process down at Ramsgate, it’s still surprising how much is inside,” says Priday, whose team are now continuing with the citric acid treatment of the wings to neutralise the remaining salt layer.

The meticulous cleaning has, for most part, worked remarkably well. Sadly, little of the paint scheme or Luftwaffe markings remain, but there is paint on some of the propellers, which are relatively pristine.

“This is one we’re really scratching our heads about,” says Priday. “When you look at the rest of the aircraft you’re thinking there shouldn’t be any propellers left but they are in quite remarkable condition.

“If you think about the suspended sand and grit in the water it is like having 73 years of sandpaper being lightly rubbed over it every time a current goes back and forth.

“If it had been in the Thames Estuary, which is not quite so violent, it might have been in better condition. But considering the environment we’re pretty pleased.”

It’s a different story with the alloys that case some of the engine components. Their close proximity to the engine’s ferrous metals has resulted in a kind of electrolysis, which has turned many of them into an aluminium ore with the consistency of rock.

Despite this setback, Priday’s team of volunteers working on the smaller parts have done some astonishing work.



The flare pistol was carefully restored© RAF MuseumBrass and metal engine components, pieces of Luftwaffe kit including a flare pistol, personal knife, MG17 drum magazine and a first aid kit with syringes, needles, clips and bandages inside have been restored to something resembling their original condition.

These items will doubtless form part of the story when the RAF Museum decides how to display the plane. A meeting is scheduled for early November when the question of how and where (the Bomber and Battle of Britain Halls at Hendon or Cosford) will be discussed.

There are many questions to be discussed, such as whether it will be capable of being road transported. “Possibly,” says Priday. "But perhaps through the night at 30 miles an hour. I need to sit down with a few other people to see what’s going to happen.

“It’s always been down to how the conservation goes,” he adds. “When we brought it up we didn’t know whether it would survive this long.”

There is also the problem of how it can be put back together, whether to put the engines back in with re-manufactured casings and components to help position the surviving pieces and how to reattach the wing.

As Priday points out, the Conservation Centre has always focused on preserving aircraft rather than repairing and replacing.

"We can take measurements with our laser measuring equipment to make sure there hasn’t been separation and that the fuselage hasn’t widened slightly or the wings haven’t shrunk. At the moment I believe I can get the fuselage back onto the wing.”

With this positive prognosis it is to be hoped the plane will be re-assembled in some form so that visitors can get an idea of its original shape - and of course a vivid sense of its history.



The bullet hole in the propeller© RAF MuseumThe Do 17 was shot down by Bolton Paul Defiant fighters. At least one bullet hole has been identified in the fuselage, with a couple in the propeller.

A number of one-inch holes - with the metal peeled back rather than broken - also suggest damage by anti-aircraft fire.

“I’m not an expert in this field but I would guess that it has been hit by ground fire then the Defiant has come in behind and shot at it and finished it off,” says Priday.

Part of a large enemy formation intercepted by the RAF, the bomber was one of six enemy planes shot down on August 26 1940. Having made a crash landing which killed two of the crew, the pilot, Feldwebel Will Effmert and one of his crew were picked up alive before it sank beneath the sea.

It's a lively picture of just one day's action during the Battle of Britain and it certainly helps to give the work a focus and a context.

“We’ve seen the object now for 18 or 19 months so I suppose you get used to seeing something,” reflects Priday.

“But when you get visitors coming into the hanger and you see their reaction you're reminded that what we’re actually working on is something quite special.”

The RAF Museum still has a long journey ahead to conserve and display what remains of its battered Dornier. As Priday puts it, this is a unique exhibit.


"It’s a one-off," he says. "We’re pretty pleased we’ve got a Dornier 17 in the collection at the moment.” 


Visitors can learn all about the Dornier Do 17, its recovery and its conservation in the Wargaming.net Dornier Interpretation Zone at RAF Museum, Cosford. 

Visit the RAF Museum’s Dornier 17 microsite for detailed information including films, resources and interviews.  @edisonmariotti #edisonmariotti http://www.culture24.org.uk/history-and-heritage/military-history/world-war-two/art503408-how-the-raf-museum-is-conserving-the-worlds-last-remaining-world-war-two-dornier-bomber

Click on the picture to launch a gallery of images from the Dornier restoration

What do you think? Leave a comment below.

More on this story:

RAF Museum tells story of its WWII German Dornier bomber with new interpretation zone and virtual reality apps

RAF Museum's delight as World War II Dornier 17 bomber is rescued

RAF Museum begins task of rescuing the last German Dornier bomber from the seabed

Scientists in race against time to help RAF Museum save WWII German Dornier bomber

RAF Museum unveils plans to recover preserved German bomber from the Channel/history-and-heritage/military-history/battle-of-britain/art363214

Thoroughly modern humans interbred with Neanderthals

When humans hooked up with Neanderthals, we could have wooed them with music and fancy jewellery.

The oldest DNA of a modern human ever to be sequenced shows that the Homo sapiens who interbred with the Neanderthals were very modern – not just anatomically but with modern behaviour including painting, modern tools, music and jewellery.

Human and Neanderthal populations overlapped at least twice in their history <i>(Image:  S.PLAILLY/E.DAYNES/SCIENCE PHOTO LIBRARY)</i>
Human and Neanderthal populations overlapped at least twice in their history (Image: S.PLAILLY/E.DAYNES/SCIENCE PHOTO LIBRARY)






Some previous estimates had placed the first interspecies liaison much earlier, before the emergence of these features. The new DNA sequence shows it actually happened in the middle of an age called the Initial Upper Palaeolithic, when there was an explosion of modern human culture.

About 2 per cent of many people's genomes today is made up of Neanderthal DNA, a result of interbreeding between the two species that can be seen in everyone except people from sub-Saharan Africa. The so-called Ust'-Ishim man, named after the town in western Siberia where he was found, carries a similar proportion of Neanderthal DNA in his genome as present-day Eurasians, and a combination of radiocarbon and genetic dating shows he died only about 45,000 years ago.

Before now we couldn't rule out that our fraction of Neanderthal ancestry was the result of interbreeding between Neanderthals and modern humans who were in the near east before Neanderthals got there, says David Reich from Harvard University, a co-author on the paper. While these near-eastern humans were anatomically modern, they did not show modern behaviour, he says.



The researchers could work out when Neanderthals first became part of the man's ancestry by analysing the lengths of the Neanderthal regions of DNA in his genome. DNA gets chopped up and scrambled over successive generations, and the lengths in his genome showed that he was descended a mere 230 to 400 generations from human-Neanderthal interbreeding between 7000 and 13,000 years before. This pinpoints the date of our interbreeding with Neanderthals to 50,000 to 60,000 thousand years ago, ruling out almost 50,000 years of previously possible dates.

"This new paper definitively says it was modern humans with modern human behaviour that interbred with Neanderthals," Reich says.

"The new timing rules out earlier modern humans in the Middle East [from participating] in the admixture," says Janet Kelso from the Max Planck Institute in Leipzig, Germany, one of the lead researchers on the project.

The Initial Upper Palaeolithic was a period around 50,000 years ago when complex stone and bone tools appeared across Eurasia, along with body ornamentation like pierced shells and animal teeth, pigments and even musical instruments, says team member Tom Higham of the University of Oxford. It is unknown which human-like species made these sophisticated artefacts, but the finding that Ust'-Ishim man was in Siberia at this time means that it could have been modern humans, he says.
Plotting the family tree

At around 45,000 years old, Ust'-Ishim man is the oldest modern human ever to have been sequenced. This title was previously held by a a 24,000 year old boy, also from Siberia, whose DNA was sequenced last year.

"This is very exciting research that shows again the remarkable power of ancient DNA analysis to help solve seemingly intractable questions in human evolution science," says Darren Curnoe from the University of New South Wales in Sydney, Australia.





By comparing Ust'-Ishim's genome to various groups of modern and ancient humans, the researchers are filling in gaps in the map of initial human migrations around the globe. They found that he is as genetically similar to present-day East Asians as to ancient genomes found in Western Europe and Siberia, suggesting that the population he was part of split from the ancestors of both Europeans and East Asians, prior to their divergence from each other.

"He represents a group that settled Siberia and then disappeared without leaving descendants," says Curnoe. "This tells us that as early humans left Africa and settled Eurasia they weren't all successful. There were more populations than we thought, some making no contribution to living people at all." He notes this could make it difficult to interpret human fossils found in Eurasia, since we cannot assume that they are our ancestors.

But while Ust'-Ishim man does not appear to have any modern-day direct descendants living today, he is more genetically similar to present-day East Asians than to present-day Europeans. This finding is consistent with a recently proposed theory that present-day Europeans may have got some of their ancestry from later groups that weren't part of the initial migration into the area. "It supports that very strongly," says Reich, one of the researchers who developed the idea.
Irresistible Neanderthals

Homo sapiens is believed to have taken on Neanderthal DNA from at least two bouts of interbreeding. While sub-Saharan Africans have no Neanderthal DNA, Asian populations have more than Europeans.

"We know that there are likely to have been at least two admixture events into the ancestors of present-day people – the shared event early during modern human migration out of Africa, and a second event into the ancestors of present-day Asians," says Kelso.

Analysing the lengths of Ust'-Ishim's Neanderthal DNA has pinpointed the early shared interbreeding event to around 230 to 400 generations before him, but some longer stretches of DNA indicate that his ancestors had also interbred with Neanderthals even more recently. "There may have been a later admixture event into the ancestors of this individual," says Kelso.

Because there are only a few of these longer stretches, they were unable to precisely date when this later interbreeding may have happened. But whatever the date, it seems humans and Neanderthals found each other irresistible, or at least mated with each other fairly commonly, whenever we inhabited the same areas. "The timing is most likely simply a result of the fact that this is where the two groups overlapped geographically and temporally," says Kelso.
 
Journal reference: Nature, DOI: 10.1038/nature13810 - @edisonmariotti http://www.newscientist.com/article/dn26435-thoroughly-modern-humans-interbred-with-neanderthals.html?full=true#.VEjzemfhW1s

Le musée (2/5) : Quand la danse pense son musée

Ecoutez l'émission 59 minutes




Deuxième moment de cette semaine consacrée au musée. Aujourd'hui, en compagnie du chorégraphe Jérôme Bel, nous interrogeons ce que peut être le musée de cet art éphémère. Entre conservation, création, recherche, exposition et diffusion à quoi ressemblerait ce lieu ?






Jérôme Bel Claire Mayot © Radio France



C’est le second moment d’une semaine qui interroge le musée. Hier, avec Benjamin Stora, nous nous demandions comment, pourquoi le musée participe à faire société. En évoquant le musée comme point de croisement d’enjeux politiques, identitaires, historiques, et économiques, comme souvent.
Aujourd’hui c’est l’énoncé même du musée qui nous met en mouvement. Quand Boris Charmatz, prenant la direction du Centre national chorégraphique de Rennes, propose, sans s’emporter dit-il, de gommer le mot centre, de gommer le mot chorégraphique, de leur substituer, simplement dit-il toujours, sur la façade, l’inscription Musée de la danse, il n’invente pas l’idée qu’il puisse exister des musées de la danse, ils existent déjà, mais il se demande, et demandent à d’autres ce que cet énoncé peut modifier, ou initier dans leur travail et leur pensée, maintenant. Maintenant, c’était environ en 2009.
Peut-être, disait-il aussi, je suis le musée de la danse, nous sommes le musée de la danse. Nos corps le sont. Et Merce Cunningham meurt à l’été 2009.




« Merce est mort », ça c’est Jérôme Bel qui l’écrit, dans un mail si bref et si piquant, dont on ne sait s’il est adressé à Boris C, ou au Musée de la danse, tant cette phrase interroge le sens de ce dernier. Jérôme Bel, qui travaille depuis des années, au spectacle, les notions de patrimoine, d’histoire, de transmission, qui sont par ailleurs au cœur des missions muséales. Jérôme Bel qui fait ensuite l’objet de la première monographie du Musée de la danse à Rennes, et qui voyant se dessiner les deux mots côte à côte, Musée et danse, pensait déjà à la mort. Jérôme Bel qui travaille depuis des années la question de l’autorité, de l’auteur, de la domination, de la relation sociale, tout ce que dit tout haut ou tout bas, depuis des siècles le musée.

Notre invité- Jérôme Bel- est chorégraphe. Son spectacle « Jérôme Bel » créé en 1995, est repris dans le cadre du festival Les Inaccoutumés à la Ménagerie de verre à Paris du 18 novembre au 22 novembre.



Manifeste pour un musée de la Danse de Boris Charmatz



En fin d'émission une seule personne, cinq jours, et cinq révolutions. Il s’agit de mettre en mots, les moments de révolutions intimes que sont les rencontres avec certaines œuvres d’art, certains paysages, ou certaines paroles.
La traductrice, conteuse, auteure, éditrice Françoise Morvan se prête à l’exercice jusqu’à vendredi. Tout ce qu’elle évoque cette semaine est condensé dans un son. Aujourd’hui, il s’agit de l’interprétation d’une sonate pour piano de Schubert, par Vanessa Wagner. Il y a manière et manière de jouer Schubert, tout comme il existe manière et manière de traduire. Allegro Moderato Vers 16h45



Programmation musicale :



- THYLACINE , "Home"
- Quartetto Per Archi Op. 1: Vi. Adagio 4:49 György Kurtag Musik Für Streichinstrumente Contemporary
- Ayee Ayee Ritu Basant 12:38 SHANKAR, Lakshmi (chant) Songs Of The Seasons Inde 4

Narcisse ! Tu perds ton corps © Radio France

Narcisse ! tu perds ton corps au Théâtre de la Loge
Invité(s) :
Jérôme Bel, chorégraphe 

fonte: @edisonmariotti #edisonmariotti http://www.franceculture.fr/emission-les-nouvelles-vagues-le-musee-25-quand-la-danse-pense-son-musee-2014-10-21

La Fondation Vuitton, un musée pas comme les autres

Un nouveau lieu consacré à l'art contemporain a été inauguré le 20 octobre à Paris par le Président de la République : la Fondation Louis Vuitton.


Nouveaux pôles. Prochainement, deux pôles culturels majeurs vont enrichir la densité d'une offre parisienne déjà remarquable. A l'est, la Philharmonie de Paris apportera, à partir du 14 janvier 2015, un nouveau souffle à la vie musicale de la capitale avec son auditorium de 2 400 places. A l'ouest, la Fondation d'art contemporain Louis Vuitton ouvrira ses portes aux visiteurs le 24 octobre, à l'orée du bois de Boulogne. Pour chacun d'entre eux, c'est le choix d'une création architecturale ambitieuse qui a été fait. La Philharmonie avec une salle signée Jean Nouvel, la Fondation Vuitton et son surprenant bâtiment futuriste de Franck Gehry.

Innovation. « Est-ce un nuage ? Une chrysalide ? Un scarabée ? Un iceberg ? Un vaisseau à voile ? », s'est interrogé François Hollande lors de l'inauguration du bâtiment, le 20 octobre. Mais avant tout, c'est un palais de cristal au service de la culture ». L'édifice conçu par l'architecte Franck Gehry – une structure constituée de 12 voiles de verre abritant 3 500 m2 d'espaces muséographiques, véritable « miracle d'intelligence, de création et de technologie », selon le Président de la République – accueillera la collection d'art contemporain constituée par Bernard Arnault, président de la Fondation et PDG du groupe de luxe LVMH, mais aussi des événements temporaires, le tout placé sous la houlette de Suzanne Pagé, ancienne directrice du musée d'art moderne de la Ville de Paris. Geste global d'innovation artistique, la Fondation Louis Vuitton « n'est pas un musée comme les autres ».

Initiative privée. A partir du 24 octobre, la Fondation Louis Vuitton ouvrira ses portes au public. Un pas de plus pour « offrir l'art contemporain au regard de tous », s'est félicité François Hollande. Issue d'une initiative privée, comme la Fondation Cartier ou la Maison rouge, la Fondation Louis Vuitton est une opération emblématique rendue possible grâce à la loi du 1er août 2003 sur le mécénat. Une disposition de la convention signée entre LVMH et la Ville de Paris a prévu que cette dernière deviendrait propriétaire de la Fondation au bout de 55 ans. « La culture, c'est une grande ambition démocratique, mais c'est aussi un puissant facteur d'attractivité pour notre pays », a conclu François Hollande, assurant que « la France serait toujours du côté des artistes ».

Week-end découverte, rétrospective Gehry au Centre Pompidou...

Après l'inauguration du bâtiment par François Hollande, Fleur Pellerin et Anne Hidalgo, maire de Paris, trois journées portes ouvertes à compter de vendredi 24 octobre permettront aux premiers visiteurs d'admirer les oeuvres de Thomas Shütte ou d'Olafur Eliasson. Autre événement : la rétrospective que consacre le Centre Pompidou à l'architecte jusqu'au 26 janvier 2015. On pourra y voir notamment tous les projets, croquis et esquisses ayant conduit à la Fondation Vuitton.

fonte: @edisonmariotti #edisonmariotti https://www.google.com/url?rct=j&sa=t&url=http://www.culturecommunication.gouv.fr/Actualites/En-continu/La-Fondation-Vuitton-un-musee-pas-comme-les-autres&ct=ga&cd=CAEYBSoUMTI1Mjc3Mjg2NDg5MTk5MzEyNzgyHWM5NWQwZDliOGQxZDdjMTE6Y29tLmJyOmZyOkJS&usg=AFQjCNHk8VQt1b35PHOgvOcdeYF4rfq3Lw

A questão da origem das obras de arte


Muitas obras de arte roubadas dos judeus pelos nazistas foram parar em museus na Alemanha. A Kunsthalle Bremen organiza uma exposição com quadros que foram investigados. Nem sempre foi possível determinar a origem deles.

fonte @edisonmariotti #edisonmariotti http://www.dw.de/a-quest%C3%A3o-da-origem-das-obras-de-arte/g-18009601

Mostra reúne 18 museus de São Paulo no Parque Villa-Lobos

Os primeiros 10 mil visitantes receberão o Passaporte dos Museus, que dá direito a uma entrada gratuita a cada instituição museológica da Secretaria da Cultura
Com programação intensa e gratuita, a segunda edição da Mostra de Museus acontecerá no dia 8 de novembro, no Parque Villa-Lobos. Estarão reunidos 18 museus da Secretaria da Cultura com o intuito de apresentar as atividades e o conteúdo dos museus, estreitando a relação das pessoas com os equipamentos culturais.

Participam da ação Casa das Rosas, Casa Guilherme de Almeida, Catavento Cultural, Memorial da Resistência, Museu Afro Brasil, Museu da Casa Brasileira, MIS (Museu da Imagem e do Som), Museu da Imigração, Museu da Língua Portuguesa, Museu de Arte Sacra, Museu do Futebol, Pinacoteca e Estação Pinacoteca, Paço das Artes, Museu Índia Vanuíre (Tupã), Museu Felícia Leirner (Campos do Jordão), Museu do Café (Santos) e Museu Casa de Portinari (Brodowski).

A Mostra de Museus foi realizada pela primeira vez em 2013. Na ocasião, mais de cinco mil pessoas participaram das atividades. A proposta do evento é fazer com que uma parcela maior da população conheça os museus e se sinta estimulada a visitá-los.

PassaporteOs primeiros 10 mil visitantes da Mostra receberão o Passaporte dos Museus, um livreto que dá direito a uma entrada gratuita a cada instituição museológica da Secretaria ao longo de um ano. Portanto, para garantir o seu procure chegar mais cedo na Mostra.

SERVIÇO
Mostra de Museus
8 de novembro (sábado), das 10h às 17h
Parque Villa Lobos – Esplanada e Anfiteatro (Avenida Professor Fonseca Rodrigues, 2001 - Alto dos Pinheiros, São Paulo)
Grátis
Mais informações no site da Secretaria da Cultura

Do Portal do Governo do Estado @edisomariotti

4 ENFOQUES PARA EL DISEÑO DE UNA EXPOSICIÓN · en DISEÑO, MUSEOGRAFÍA,MUSEOLOGÍA, OPINIÓN. ·


“La simplicidad es restar lo obvio
para añadir lo significativo”.
ohn Maeda

 
La Suda (Lleida, España) Estudi Conrad Torras

Partimos de la idea de que para que una exposición sea duradera – permanente -, debe ser diseñada en nivel y forma que garanticen su duración, algo ciertamente obvio. Nos referimos fundamentalmente a que el uso de los materiales y componentes que se utilicen para construir los soportes, aguanten un desgaste continuo, cuyo mantenimiento sea sencillo y económico. Entre las argumentaciones que los museógrafos solemos usar está la de que dice “el buen diseño no es perecedero”. Pero para que la exposición disfrute de esa cualidad, hay que manejar cuatro enfoques diferentes, entre los cuales el diseñador (museógrafo) deberá seleccionar, para evitar así que la exposición se inaugure con fecha de caducidad. Estos enfoque los podríamos resumir de la siguiente forma:

1. Diseñar siguiendo los arquetipos de la moda del momento: colores de moda, modelos populares del momento, iluminación al uso en las tiendas de moda, convirtiendo la exposición en todo un ejemplo de las tendencias del diseño más chic. Inevitablemente, creemos que la exposición será visitada y vista como algo producido en un momento muy concreto y con el estilo de una época, incluso el de un año determinado si nos apuráis. Desde el momento de su inauguración será un hecho que cuando la corriente de la moda cambie, nuestra exposición quedará desfasada.

2. Diseñar con un estilo moderno pero alejándonos de los clichés de la moda y extremismos creativos innecesarios. La simplicidad es la mejor corriente creativa que existe. La madera, la piedra y el metal, como si formaran parte de los elementos básicos del universo material – solo faltarían la tierra, el fuego y el agua -, son materiales nobles, aportan frescura y naturalidad a las exposiciones y ayudan a transformarla en intemporal. La iluminación debe ser sencilla y si nos podemos apoyar en luz natural sin exceso, mejor.

3. Que el diseño sea original. Es importante que la exposición ofrezca el valor de lo diferente, lo diferenciado, lo antes nunca visto. Es muy difícil conseguir este objetivo. Hay quien asegura que todo está inventado y que diseñar bien es copiar bien. Podemos estar especializados en la innovación, y aun así será difícil aportar novedad. Además, todos los diseñadores estamos influenciados por algo, tenemos una línea de creación que a veces resulta ineludible, y eso nos marca profundamente a la hora de plantear nuestras ideas. Esta influencia “inquebrantable” es lo que más nos dificulta encarar la opción de la máxima originalidad y diferenciación. Los presupuestos e incluso los límites de los materiales también marcan el ritmo de la creación. Los materiales que ofrecen más posibilidades son los más caros. Adelantarse a las corrientes de estilo, manejar los conceptos que serán futuro, es muy difícil de conseguir. Marcar tendencias solo está al alcance de unos pocos. La modestia combinada con la sencillez genera cosas bellas sin pretensiones.

4. Realizar diseños que estén en paz con el pasado pero incorporando detalles de las corrientes actuales, es otra opción. Aquí la iluminación juega un papel fundamental. Son recursos que son útiles cuando los objetos son el centro de la atención de la exposición, cuando el contenido material es relevante. Hablamos de los objetos pero también es muy importante el entorno arquitectónico. Podríamos denominar este estilo con los nombres conocidos de estilos de otras épocas, como dicen los anglosajones revisited style: art nouveau, art-decó, streamline o similares, en cuyo casino no deberá ser considerado algo pasado de moda, sino que sería visto y entendido como un guiño al pasado, una forma d fidelidad a los objetos y a la época del edificio en cada caso.

 
Barbara Kruger @ L&M Arts Exhibition Recap

El enfoque de la línea de diseño que seleccionemos, la que vayamos a utilizar, deberá estar claramente de acuerdo con el objetivo de la exposición, su entorno y ejecutarse dando respuesta a lo más importante de todo: la difusión amable y fluida de los contenidos que, a fin de cuentas, es lo más importante de todo.