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quarta-feira, 5 de novembro de 2014

Cincinnati Art Museum presents 'Beyond Pop Art: A Tom Wesselmann Retrospective'

CINCINNATI, OH.- The Cincinnati Art Museum hosts the exhibition Beyond Pop Art: A Tom Wesselmann Retrospective, Oct. 31, 2014 – Jan. 18, 2015. 



An American painter and Cincinnati native, Tom Wesselmann (1931-2004) is widely regarded as one of the leading figures of American Pop Art. Known for creating collages and assemblages of everyday objects and advertising, the Wesselmann retrospective catalogues more than four decades of the artist’s work. His larger-than-life Still Life #60 already is a familiar sighting in downtown Cincinnati as the artwork has been captured as a mural – in all of its oversized glory – on the corner of 8th and Main Streets by ArtWorks, the award-winning nonprofit organization that enables youth apprentices and artists to turn bare walls into public masterpieces. 

The 25-foot-long mural is a great representation of the brightly colored, sculptural painting that features six everyday objects, including a hand-painted, standing canvas cutout of a lipstick, measuring 14 feet, 9 inches. “The Cincinnati Art Museum is excited to showcase the works of Tom Wesselmann in his hometown,” said Cameron Kitchin, director of the Cincinnati Art Museum. 

“Beyond Pop Art highlights Wesselmann’s status as a leader in the Pop Art movement, follows the development of his work and explores his reluctance to being associated with the genre. This exhibition does a great job of furthering the knowledge and appreciation of this talented Cincinnatian.” Matt Distel, Cincinnati Art Museum’s adjunct curator of contemporary art, said that despite Wesselmann’s legacy as one of the most influential artists of the 20th Century, he is still under-recognized and slightly misunderstood. “The success and power of his early Great American Nude series contributed to his distinction, yet his career never stood still as he was constantly innovating in his studio until his death in 2004,” Distel noted. 

Featuring approximately 75 works organized chronologically, Beyond Pop Art follows the development of Wesselmann’s work, series by series, from his earliest abstract collages to his most well-known pieces. Notable works on display include everything from his Great American Nude series and still lifes of his Pop period, to the cut-steel drawings and Sunset Nudes series created in his final years. Cincinnati Art Museum visitors will have the opportunity to explore Wesselmann’s creative process through preliminary drawings, maquettes and archival documents, from billboards to photographs and letters. Distel added, “This show is particularly poignant in that Tom is from Cincinnati and his visits home from New York helped to shape some of his most compelling works as he began incorporating imagery from the billboards he passed in his travels.” 

The Cincinnati Art Museum is the final tour stop in the first North American retrospective for this important artist and, according to Distel, is long overdue. Beyond Pop Art also explores Wesselmann’s reluctance to be affiliated with the Pop Art movement. In his biography, written under the pen name Slim Stealingworth, he wrote that he, “… dislikes the term ‘Pop Art’ primarily because it causes many art historians, curators and critics to focus excessively on subject matter and assumed sociological commentary. 

Wesselmann’s motivation, what drives his art, is no different than any other fine artist in history – he wants to give form to his own personal discoveries of what is beautiful and exciting.” In addition to a focus on Wesselmann’s visual arts, Beyond Pop Art explores his connection to country music. By the end of his life, he had written more than 400 songs, a number of which were recorded. One of his compositions, “I Love Doing Texas with You,” sung by Kevin Trainor, was included on the soundtrack for the Academy Award-winning film Brokeback Mountain.

fonte: @edisonmariotti #edisonmariotti http://artdaily.com/news/73982/Cincinnati-Art-Museum-presents--Beyond-Pop-Art--A-Tom-Wesselmann-Retrospective-#.VFqOEWeS5sU[/url]

CINCINNATI, OH.- The Cincinnati Art Museum hosts the exhibition Beyond Pop Art: A Tom Wesselmann Retrospective, Oct. 31, 2014 – Jan. 18, 2015. An American painter and Cincinnati native, Tom Wesselmann (1931-2004) is widely regarded as one of the leading figures of American Pop Art. Known for creating collages and assemblages of everyday objects and advertising, the Wesselmann retrospective catalogues more than four decades of the artist’s work. His larger-than-life Still Life #60 already is a familiar sighting in downtown Cincinnati as the artwork has been captured as a mural – in all of its oversized glory – on the corner of 8th and Main Streets by ArtWorks, the award-winning nonprofit organization that enables youth apprentices and artists to turn bare walls into public masterpieces. The 25-foot-long mural is a great representation of the brightly colored, sculptural painting that features six everyday objects, including a hand-painted, standing canvas cutout of a lipstick, measuring 14 feet, 9 inches. “The Cincinnati Art Museum is excited to showcase the works of Tom Wesselmann in his hometown,” said Cameron Kitchin, director of the Cincinnati Art Museum. “Beyond Pop Art highlights Wesselmann’s status as a leader in the Pop Art movement, follows the development of his work and explores his reluctance to being associated with the genre. This exhibition does a great job of furthering the knowledge and appreciation of this talented Cincinnatian.” Matt Distel, Cincinnati Art Museum’s adjunct curator of contemporary art, said that despite Wesselmann’s legacy as one of the most influential artists of the 20th Century, he is still under-recognized and slightly misunderstood. “The success and power of his early Great American Nude series contributed to his distinction, yet his career never stood still as he was constantly innovating in his studio until his death in 2004,” Distel noted. Featuring approximately 75 works organized chronologically, Beyond Pop Art follows the development of Wesselmann’s work, series by series, from his earliest abstract collages to his most well-known pieces. Notable works on display include everything from his Great American Nude series and still lifes of his Pop period, to the cut-steel drawings and Sunset Nudes series created in his final years. Cincinnati Art Museum visitors will have the opportunity to explore Wesselmann’s creative process through preliminary drawings, maquettes and archival documents, from billboards to photographs and letters. Distel added, “This show is particularly poignant in that Tom is from Cincinnati and his visits home from New York helped to shape some of his most compelling works as he began incorporating imagery from the billboards he passed in his travels.” The Cincinnati Art Museum is the final tour stop in the first North American retrospective for this important artist and, according to Distel, is long overdue. Beyond Pop Art also explores Wesselmann’s reluctance to be affiliated with the Pop Art movement. In his biography, written under the pen name Slim Stealingworth, he wrote that he, “… dislikes the term ‘Pop Art’ primarily because it causes many art historians, curators and critics to focus excessively on subject matter and assumed sociological commentary. Wesselmann’s motivation, what drives his art, is no different than any other fine artist in history – he wants to give form to his own personal discoveries of what is beautiful and exciting.” In addition to a focus on Wesselmann’s visual arts, Beyond Pop Art explores his connection to country music. By the end of his life, he had written more than 400 songs, a number of which were recorded. One of his compositions, “I Love Doing Texas with You,” sung by Kevin Trainor, was included on the soundtrack for the Academy Award-winning film Brokeback Mountain.

More Information: http://artdaily.com/news/73982/Cincinnati-Art-Museum-presents--Beyond-Pop-Art--A-Tom-Wesselmann-Retrospective-#.VFqOEWeS5sU[/url]
Copyright © artdaily.org
CINCINNATI, OH.- The Cincinnati Art Museum hosts the exhibition Beyond Pop Art: A Tom Wesselmann Retrospective, Oct. 31, 2014 – Jan. 18, 2015. An American painter and Cincinnati native, Tom Wesselmann (1931-2004) is widely regarded as one of the leading figures of American Pop Art. Known for creating collages and assemblages of everyday objects and advertising, the Wesselmann retrospective catalogues more than four decades of the artist’s work. His larger-than-life Still Life #60 already is a familiar sighting in downtown Cincinnati as the artwork has been captured as a mural – in all of its oversized glory – on the corner of 8th and Main Streets by ArtWorks, the award-winning nonprofit organization that enables youth apprentices and artists to turn bare walls into public masterpieces. The 25-foot-long mural is a great representation of the brightly colored, sculptural painting that features six everyday objects, including a hand-painted, standing canvas cutout of a lipstick, measuring 14 feet, 9 inches. “The Cincinnati Art Museum is excited to showcase the works of Tom Wesselmann in his hometown,” said Cameron Kitchin, director of the Cincinnati Art Museum. “Beyond Pop Art highlights Wesselmann’s status as a leader in the Pop Art movement, follows the development of his work and explores his reluctance to being associated with the genre. This exhibition does a great job of furthering the knowledge and appreciation of this talented Cincinnatian.” Matt Distel, Cincinnati Art Museum’s adjunct curator of contemporary art, said that despite Wesselmann’s legacy as one of the most influential artists of the 20th Century, he is still under-recognized and slightly misunderstood. “The success and power of his early Great American Nude series contributed to his distinction, yet his career never stood still as he was constantly innovating in his studio until his death in 2004,” Distel noted. Featuring approximately 75 works organized chronologically, Beyond Pop Art follows the development of Wesselmann’s work, series by series, from his earliest abstract collages to his most well-known pieces. Notable works on display include everything from his Great American Nude series and still lifes of his Pop period, to the cut-steel drawings and Sunset Nudes series created in his final years. Cincinnati Art Museum visitors will have the opportunity to explore Wesselmann’s creative process through preliminary drawings, maquettes and archival documents, from billboards to photographs and letters. Distel added, “This show is particularly poignant in that Tom is from Cincinnati and his visits home from New York helped to shape some of his most compelling works as he began incorporating imagery from the billboards he passed in his travels.” The Cincinnati Art Museum is the final tour stop in the first North American retrospective for this important artist and, according to Distel, is long overdue. Beyond Pop Art also explores Wesselmann’s reluctance to be affiliated with the Pop Art movement. In his biography, written under the pen name Slim Stealingworth, he wrote that he, “… dislikes the term ‘Pop Art’ primarily because it causes many art historians, curators and critics to focus excessively on subject matter and assumed sociological commentary. Wesselmann’s motivation, what drives his art, is no different than any other fine artist in history – he wants to give form to his own personal discoveries of what is beautiful and exciting.” In addition to a focus on Wesselmann’s visual arts, Beyond Pop Art explores his connection to country music. By the end of his life, he had written more than 400 songs, a number of which were recorded. One of his compositions, “I Love Doing Texas with You,” sung by Kevin Trainor, was included on the soundtrack for the Academy Award-winning film Brokeback Mountain.

More Information: http://artdaily.com/news/73982/Cincinnati-Art-Museum-presents--Beyond-Pop-Art--A-Tom-Wesselmann-Retrospective-#.VFqOEWeS5sU[/url]
Copyright © artdaily.org
CINCINNATI, OH.- The Cincinnati Art Museum hosts the exhibition Beyond Pop Art: A Tom Wesselmann Retrospective, Oct. 31, 2014 – Jan. 18, 2015. An American painter and Cincinnati native, Tom Wesselmann (1931-2004) is widely regarded as one of the leading figures of American Pop Art. Known for creating collages and assemblages of everyday objects and advertising, the Wesselmann retrospective catalogues more than four decades of the artist’s work. His larger-than-life Still Life #60 already is a familiar sighting in downtown Cincinnati as the artwork has been captured as a mural – in all of its oversized glory – on the corner of 8th and Main Streets by ArtWorks, the award-winning nonprofit organization that enables youth apprentices and artists to turn bare walls into public masterpieces. The 25-foot-long mural is a great representation of the brightly colored, sculptural painting that features six everyday objects, including a hand-painted, standing canvas cutout of a lipstick, measuring 14 feet, 9 inches. “The Cincinnati Art Museum is excited to showcase the works of Tom Wesselmann in his hometown,” said Cameron Kitchin, director of the Cincinnati Art Museum. “Beyond Pop Art highlights Wesselmann’s status as a leader in the Pop Art movement, follows the development of his work and explores his reluctance to being associated with the genre. This exhibition does a great job of furthering the knowledge and appreciation of this talented Cincinnatian.” Matt Distel, Cincinnati Art Museum’s adjunct curator of contemporary art, said that despite Wesselmann’s legacy as one of the most influential artists of the 20th Century, he is still under-recognized and slightly misunderstood. “The success and power of his early Great American Nude series contributed to his distinction, yet his career never stood still as he was constantly innovating in his studio until his death in 2004,” Distel noted. Featuring approximately 75 works organized chronologically, Beyond Pop Art follows the development of Wesselmann’s work, series by series, from his earliest abstract collages to his most well-known pieces. Notable works on display include everything from his Great American Nude series and still lifes of his Pop period, to the cut-steel drawings and Sunset Nudes series created in his final years. Cincinnati Art Museum visitors will have the opportunity to explore Wesselmann’s creative process through preliminary drawings, maquettes and archival documents, from billboards to photographs and letters. Distel added, “This show is particularly poignant in that Tom is from Cincinnati and his visits home from New York helped to shape some of his most compelling works as he began incorporating imagery from the billboards he passed in his travels.” The Cincinnati Art Museum is the final tour stop in the first North American retrospective for this important artist and, according to Distel, is long overdue. Beyond Pop Art also explores Wesselmann’s reluctance to be affiliated with the Pop Art movement. In his biography, written under the pen name Slim Stealingworth, he wrote that he, “… dislikes the term ‘Pop Art’ primarily because it causes many art historians, curators and critics to focus excessively on subject matter and assumed sociological commentary. Wesselmann’s motivation, what drives his art, is no different than any other fine artist in history – he wants to give form to his own personal discoveries of what is beautiful and exciting.” In addition to a focus on Wesselmann’s visual arts, Beyond Pop Art explores his connection to country music. By the end of his life, he had written more than 400 songs, a number of which were recorded. One of his compositions, “I Love Doing Texas with You,” sung by Kevin Trainor, was included on the soundtrack for the Academy Award-winning film Brokeback Mountain.

More Information: http://artdaily.com/news/73982/Cincinnati-Art-Museum-presents--Beyond-Pop-Art--A-Tom-Wesselmann-Retrospective-#.VFqOEWeS5sU[/url]
Copyright © artdaily.org

Harvard’s new home for art - Revitalized museums to open Nov. 16

Get an inside look at the Harvard Art Museums’ transformation in Monday’s daily Gazette, which will feature a special edition dedicated exclusively to the renovation and reopening.

After six years, the Harvard Art Museums will reopen to the public on Nov. 16. The much-anticipated renovation and restoration has united the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum under one spectacular glass roof designed by Pritzker Prize-winning architect Renzo Piano.
Light is a key element of the new design, as is an emphasis on slowing down visitors and connecting them with beautiful works of art in dynamic new ways. The 204,000-square-foot home of the University’s imposing collection includes an expanded art-study center where visitors can request works for examination by appointment, new University galleries where students and faculty will work with curators on projects, and revamped and expanded galleries where fresh juxtapositions of artworks create crosscurrents and connections between collections.

FONTE: @EDISONMARIOTTI #edisonmariotti http://news.harvard.edu/gazette/story/2014/10/harvards-new-home-for-art/

Click here for a list of opening events.

Centro de Visitantes: Características · en CREACIÓN, INSTITUCIONES, MUSEOGRAFÍA, MUSEOLOGÍA, OPINIÓN. ·

“No soy profesor,
]soy un despertador”.
Robert Frost

Un Centro de Visitantes debe ser proyectado como un espacio de usos múltiples, un complejo que responda a las necesidades de un público variado que acude al lugar buscando información, comprar entradas, pasar unas horas agradables y entretenidas aprendiendo cosas nuevas sobre un tema o un lugar. Un moderno Centro de Visitantes, desde nuestro punto de vista, debe disponer de los siguientes servicios:

- Mostradores de información general del área específica del conjunto patrimonial local o regional.

- Área de shopping donde se muestran y se representan los principales productos de la ciudad, comarca y región.

- Espacios de presentación del conjunto patrimonial a visitar ya sea local, comarcal o regional.



Imagen: Dariusz Klimczak

- Zona de proyección de documentales o de información on line sobre el patrimonio.

- Centro de exposiciones de objetos o elementos significativos del conjunto patrimonial, reales o facsímiles.

- Centro de documentación e investigación del patrimonio que se presenta al público y se debe preservar.

- Oficina de turismo para facilitar servicios variados: alquiler de coches, reserva de hoteles, información de restaurantes, mapas, catálogos, etcétera.



Imagen: Helena Blomqvist

- Servicio de bar y/o restaurante.

- Servicio de mantenimiento y conservación del patrimonio.

- Oficina de atención a públicos especiales.

- Centro de coordinación de programas y actividades relacionadas con el patrimonio.

- Venta de entradas para la visita al centro o de los demás museos locales, comarcales y regionales.



Maico Akiba Toys

Aunque no existe una receta que sea infalible cuando proponemos el diseño de un Centro de Visitantes (podemos denominarlo también Centro de Interpretación del Patrimonio), sí podemos determinar una serie de características concretas y explicadas que pueden ser de gran utilidad (no nos gusta redactar estradas largas y tediosas pero creemos que esto es importante que se mencione aquí; en todo caso os pedimos disculpas por la extensión), como por ejemplo :

1. Un Centro de Visitantes debería estar situado en un lugar estratégico, conectado a los grandes ejes de comunicación de la zona. Debe disponer de aparcamiento señalizado convenientemente al tráfico como tal centro de visitantes que es.

2. El visitante deberá disponer en el centro de toda la información de los conjuntos patrimoniales existentes, programas de actividades, atracciones locales, rutas, formas de desplazamiento, etcétera.

3. Las áreas de shopping son los espacios donde se muestran y se presentan los principales productos de la ciudad, comarca y región si cabe. Estas áreas no deberían ser una simple tienda de recuerdos, sino un auténtico lugar de exposición de los productos característicos de la zona.

4. El núcleo central del centro de visitantes es el espacio de presentación del conjunto patrimonial o contenido temático que se visita. Este espacio debe concebirse a modo de espectáculo de entretenimiento didáctico, que impacte al visitante – el amplio conjunto del público diverso -, que incida en sus emociones de tal forma que despierte el interés y la curiosidad de todos por el patrimonio de referencia. Nosotros lo denominamos “espectáculo total”: luz, sonido, efectos especiales, olores si se justifican, etcétera. Usamos todos los medios que la tecnología nos permite (y presupuesto). Creamos algo que justifica de largo el desplazamiento y que es tan memorable que se produce el efecto “boca-oreja”, o “efecto viral”, que queda como más de ahora. Nosotros nos apoyamos mucho en el concepto de viaje en el tiempo virtual, que además gusta mucho a los niños.

5. Es importante apoyar esta experiencia didáctica con la presentación de objetos y elementos en una exposición. Es muy importante que estos objetos significativos para que el patrimonio sea mejor comprendido, en ocasiones con el uso de facsímiles, se contextualicen sin caer en la limitación de mostrarse ante el público en una vitrina. Los escaparates es mejor ponerlos en las tiendas, no en un centro de interpretación.



Imagen: Bill Murray para Mashkulture

6. Debe existir un espacio de proyección de documentales en bucle que muestren información para todos los públicos. esta zona debe responder a las condiciones adecuadas de luz y sonido para que la producción audiovisual se visualice y escuche sin problemas. La ubicación de los visitantes en relación con las pantallas (mejor muy grandes) debe ser libre.

7. El centro de investigación y documentación del patrimonio no debería ser solo un gabinete de conservación, sino un centro especializado en aumentar todo tipo de patrimonio relacionado con el conjunto o temática. Un centro arqueológico por ejemplo, debe potenciar la investigación arqueológica para incrementar el valor añadido del conjunto, pro no puede dejar al margen la conservación de la memoria oral, de las personas mayores del lugar. En centros relacionados con la etnología debería ser “obligatorio”. Es muy importante también promover actividades de Re-actement o escenificación de pasajes de la historia local. Lo ideal es que se movilicen los ciudadanos locales para desarrollar este tipo de actividades que no tienen que ser “de continuo”, pueden realizarse en fechas señaladas como atracción añadida y adscrita al centro.

8. La oficina de turismo del centro debería funcionar como una agencia de viajes especializada en lo local, o casi.

9. Nosotros no entendemos un centro de visitantes que no tenga bar-restaurante que sirva productos gastronómicos y especializado en recetas autóctonas o temáticas (comida romana, medieval, romántica, etcétera…). Por pedir…

10. Los servicios de mantenimiento y conservación del patrimonio, así como la oficina de atención a públicos especiales o encargado de coordinar programas de actividades son fundamentales en cualquier centro de visitantes que se precie. Esta oficina debe ser capaz de vender entradas ya no solo para la visita al patrimonio que representa sino para otro tipo de espectáculos y experiencias culturales en el ámbito local, comarcal y regional (para el fútbol no es necesario).



Imagen Todd Baxter

Un Centro de Visitantes o un Centro de Interpretación del Patrimonio, si está bien diseñado y ejecutado se convierte en un espacio de comunicación fundamental; su función es hacer comprensible, interesante, amena, divertida, memorable, apetecible, recomendable la visita al patrimonio o temática histórica que representa. Este Centro formado por un conjunto de elementos que intenta hacer comprensibles y asequibles unos contenidos a todo tipo de público visitante; su lenguaje debe ser variado, adaptado a los niños y adultos, visual y auditivo, accesible, con múltiples elementos interactivos, sin olvidar si cabe a las personas que no hablan nuestro idioma, si nos encontramos en zona de influencia de visitantes foráneos. Debe ser ante todo – el Centro completo incluido el bar-restaurante -, toda una institución didáctica.

Prisão de Hohenschönhausen - sobre o que foi a ocupação soviética de Berlim

A Prisão de Hohenschönhausen irá dissipar-lhe quaisquer dúvidas que tenha sobre o que foi a ocupação soviética de Berlim, a que se sucedeu a tomada de controlo da prisão por parte do aparelho securitário da RDA. 
 
 
Gedenkstätte 
 
 
 
 
 
 
 
 
 
The Berlin-Hohenschönhausen Memorial
 








A Prisão foi aberta ao público em 1994. Só admitem visitas guiadas, e ainda bem. Os guias são conhecedores (alguns, doutorados em História) e, à parte uma outra concessão que têm de fazer aos mais sedentos de horror e de sangue, não precisam muito disso: o local fala por si. Mas, sem um guia – e, por vezes, antigos prisioneiros servem de guia –, tudo não passaria de uma sucessão de celas, umas mais antigas, assemelhando-se a masmorras medievais em que os detidos eram enclausurados com água pelos tornozelos, outras mais modernas e sofisticadas. Uma das alas no subsolo, ainda do tempo dos soviéticos, tinha escassos meios de ventilação e refrigeração, sendo chamada de «submarino» pelos prisioneiros encarcerados naquela atmosfera irrespirável.

As explicações fornecidas são imprescindíveis para a compreensão do que ali se passou, sobretudo quando foram adoptados métodos mais subtis de tortura psicológica. Deparamos, incrédulos, com celas inteiramente forradas a borracha, completamente insonorizadas. O cúmulo da tecnologia carcerária. Entre o final da 2ª Guerra e a queda do Muro, cerca de 50.000 pessoas estiveram detidas em Hohenschönhausen.

Por estar situado numa área remota, o vasto complexo de Hohenschönhausen não foi alvo da ira popular nos dias subsequentes à queda do Muro. Segundo se diz, isso permitiu que muita documentação tivesse sido entretanto destruída, mas o espaço e as informações que nele são apresentadas tornam este lugar imprescindível para conhecer o mundo perdido da República Democrática Alemã.


Uma das alas no subsolo, ainda do tempo dos soviéticos, tinha escassos meios de ventilação e refrigeração, sendo chamada de «submarino» pelos prisioneiros encarcerados naquela atmosfera irrespirável.

Não sendo de fácil acesso, a Prisão é cada vez mais visitada por turistas, em transporte individual ou excursões organizadas. Como se referiu, só são admitidas visitas em grupo ou, melhor dizendo, acompanhadas por um guia. Diariamente, existe uma visita em inglês às 14h30. Apesar de no site do Memorial afirmarem não ser necessária uma reserva prévia, à cautela não deixaria de a fazer, utilizando o formulário disponibilizado online. Entre as 9h00 e as 16h00 existem tours para grupos que procedam a marcação prévia, escolhendo a respectiva língua da visita: inglês, francês, espanhol, italiano, norueguês e dinamarquês, mas para o efeito tem de fazer reserva prévia. Se for um visitante individual ou um pequeno grupo, é mais seguro realizar a visita das 14h30 e, mais seguro ainda, não deixar de realizar uma reserva antecipada. Apesar de, segundo sei, não existirem números-limite para as visitas das 14h30, o registo prévio através da Internet evita quaisquer surpresas desagradáveis (lembre-se que não está propriamente num local central de Berlim, a que possa ir no intervalo de dois programas ou de passagem a caminho de outro sítio).

Quanto a acessos, existem diversas formas de chegar ao local, consoante o ponto de partida. A mais prática é apanhar o S-Bahn nº 5 nas estações de Alexanderplatz ou Landsberger Allee e sair em Freienwalder Strasse, ficando a Prisão a dez minutos a pé desta rua. Mas não é descabido ir e vir de táxi, a menos que já se encontre em Alexanderplatz, por exemplo, e lhe seja fácil apanhar a linha 5 do S-Bahn. Como toda a zona envolvente não tem muito trânsito, a ida de táxi não é particularmente dispendiosa, mesmo estando na Alemanha.

Prisão de Hohenschönhausen 
Horário: em horários diferenciados, encontra-se aberta todos os dias, excepto 24, 25 e 31 de Dezembro e 1 de Janeiro; em todo o caso, o horário é relativamente indiferente, uma vez que não são admitidas visitas individuais, isto é, não acompanhadas por guia; existe todos os dias uma visita guiada em inglês às 14h30. 
Entradas: 5€ / adultos. Entrada gratuita com Berlin Pass.
Endereço: Genslerstrasse 66
Endereço electrónico: http://en.stiftung-hsh.de/

 fonte: @edisonmariotti #edisonmariotti http://en.stiftung-hsh.de/document.php?cat_id=CAT_231&special=0

The Berlin-Hohenschönhausen Memorial
  The site of the main remand prison for people detained by the former East German Ministry of State Security (MfS), or 'Stasi', has been a Memorial since 1994 and, from 2000 on, has been an independent Foundation under public law. The Berlin state government has assigned the Foundation without charge. The Foundation's work is supported by an annual contribution from the Federal Government and the Berlin state government.
The Memorial's charter specifically entrusts it with the task of researching the history of the Hohenschönhausen prison between 1945 and 1989, supplying information via exhibitions, events and publications, and encouraging a critical awareness of the methods and consequences of political persecution and suppression in the communist dictatorship. The former Stasi remand prison is also intended to provide insight into the workings of the GDR's political justice system.

Since the vast majority of the buildings, equipment and furniture and fittings have survived intact, the Memorial provides a very authentic picture of prison conditions in the GDR. The Memorial's location in Germany's capital city makes it the key site in Germany for victims of communist tyranny.

In 2010 332,000 people visited the Memorial and over half of these visitors were students. Tours of the prison are usually led by former inmates, who provide first-hand details on prison conditions and the interrogation methods employed by the GDR's Ministry of State Security (MfS). 
 f

Museu Trabant (TrabiWorld) -Das erste Trabi Museum in Berlin. Erleben Sie die Welt des Volkswagens der DDR - der Trabant. Direkt am Checkpoint Charlie. Nostalgie garantiert!

Já aqui falámos de Trabant, mas convém referir que no centro de Berlim, não muito longe de locais como a Topografia do Terror ou o Checkpoint Charlie, existe um museu inteiramente dedicado ao veículo mais popular da República Democrática Alemã. Chama-se Trabi Museum e fica situado no nº 97 de Zimmerstrasse, a poucos metros do Checkpoint Charlie, sendo facilmente visível da rua (de caminho, tem um Panorama do Muro, a evitar a todo o preço). Aberto todos os dias das 10h00 às 18h00, com entrada a 5€, está associado ao Trabi World, um museu a céu aberto, escandalosamente oportunista, que se assemelha a um stand de automóveis, com a agravante de aqui serem todos da mesma marca e de, entre si, os modelos variarem pouco. 
 


Trata-se, no fundo, de uma descarada exploração de um dos símbolos da RDA, semelhante àquela que faz com que em todas as lojas de souvenirs existam à venda miniaturas desses automóveis. Mas, do ponto de vista da Östalgie, é inevitável falar dos Trabants.



Pouco mais do que um stand de automóveis





A sua popularidade tinha uma explicação, pouco edificante: o lamentável estado de conservação e o péssimo funcionamento dos transportes públicos na República Democrática Alemã. Foi isso que levou – o que não deixa de ser irónico num país colectivista – a uma opção em massa pelo transporte individual. Em 1988, um ano antes da queda do Muro, circulavam quase 2 milhões de Trabant RDA, logo seguidos de 606.000 Wartburg, igualmente de fabrico leste-alemão, e de 329.000 Lada, soviéticos.


Evitando ao máximo idas à oficina, frequentemente exigidas pela má qualidade dos veículos, os alemães de Leste tornaram-se especialistas em mecânica artesanal, passando os fins-de-semana à volta dos seus Trabant.

O tempo de espera por um Trabant chegava a atingir 16 anos e, correspondendo «Trabi» a uma palavra russa que significa «companheiro», não há dúvida de que essa espera contribuía em muito para o tornar um dos maiores amigos dos alemães de Leste. Chamavam-lhe «caixa de fósforos a motor» pois a sua estrutura era de uma austeridade total. A carroçaria era feita em Duroplast, um material sintético, para a tornar mais leve e evitar a importação de metal; os interiores eram monásticos e os motores extremamente simples.

Evitando ao máximo idas à oficina, frequentemente exigidas pela má qualidade dos veículos, os alemães de Leste tornaram-se especialistas em mecânica artesanal, passando os fins-de-semana à volta dos seus Trabant, a que dedicavam os maiores carinhos. Com isso, desenvolveram-se laços afectivos e de grande camaradagem entre os cidadãos da RDA, sobretudo os de sexo masculino, e os seus automóveis. Depois caiu o Muro e vieram os Mercedes e os BMW, mas perdurou a memória dos tempos passados na companhia dos Trabant. São pormenores destes que explicam a Östalgie.

Em complemento ou em alternativa ao universo do Trabi World – e se estiver mesmo interessado nos Trabis – pode efectuar uma excursão em Berlim num Trabant. No TripAdvisor dão-lhe uma excelente pontuação, o que diz muito da pouca fiabilidade dos comentários do TripAdvisor. No Trabi Safari, assim se chama o passeio, existem várias modalidades. Uma delas, que atravessa os pontos mais quentes da Guerra Fria, custa cerca de 80€ por pessoa, tendo a excursão a duração de cerca de duas horas. Claramente a evitar. Apesar de Berlim ser uma cidade plana, convém recordar sempre a anedota dos tempos do comunismo:

− O que é um Trabant a subir uma colina?
− Um milagre.

Museu Trabant
Horário: aberto todos os dias do ano, das 10h00 às 18h00.
Entrada: 5€ / adultos.
Endereço: Zimmerstrasse, 97
Endereço electrónico: http://www.trabi-museum.com

Instituto Brasileiro de Museus avalia Política Nacional Setorial de Museus em Ouro Preto



A reunião do Comitê Gestor do Sistema Brasileiro de Museus (SBM), realizada entre os dias 7 e 8 de outubro em Brasília, escolheu o Sistema de Museus de Ouro Preto (Simop) para teste de nova metodologia de avaliação e monitoramento das diretrizes da Política Nacional Setorial de Museus (PNSM). Os encontros acontecem no Museu da Farmácia da UFOP, nos dias 4 e 5 de novembro.

Para as reuniões, uma equipe de profissionais do Instituto Brasileiro de Museus (Ibram), direto de Brasília, vem trabalhar junto aos gestores dos 13 museus localizados em Ouro Preto para analisar a nova metodologia.

O SBM é um marco das atuações políticas públicas voltadas para o setor museológico, onde cumpre as premissas da Política Nacional de Museus (PNM). Criada em 2004, sua finalidade é facilitar o diálogo entre museus e instituições afins, buscando uma gestão integrada e o desenvolvimento dos museus, acervos e processos museológicos brasileiros, além de fortalecer a criação de sistemas regionais, institucionalização de novos sistemas e articulação de redes temáticas.
 
 
fonte: @edisonmariotti #eduisonmariotti - Daniella Andrade http://www.ufop.br/index.php?option=com_content&task=view&id=15560&Itemid=196