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sábado, 29 de novembro de 2014

Exhibition of works by Italian artist Francesco Vezzoli on view at MoMA PS1

LONG ISLAND CITY, NY.- MoMA PS1 presents an exhibition of works by Francesco Vezzoli (Italian, b. 1971). Drawing on extensive research about the use of color in antiquity, Vezzoli collaborated with a team of archaeologists, conservators and polychrome specialists to paint five ancient Roman busts in the manner in which they would originally have been decorated. 

While white marble remains the quintessential material of ancient Greek and Roman statuary, extensive research has confirmed that ancient sculpture was painted in a vivid palette of yellows, blues, reds and greens. Dating from the first and second centuries A.D., Vezzoli’s Roman Imperial busts restore to contemporary imagination the decorated surfaces that have faded away over nearly two thousand years. Vezzoli collaborated with Dr. Clemente Marconi, Professor in the History of Greek Art and Archaeology at NYU and Director of the Institute of Fine Art’s excavations at Selinunte and Dr. Andrew Wallace-Hadrill, former Director of the British School at Rome, Master of Sidney Sussex College, Cambridge and Director of Research in the Faculty of Classics, Cambridge. 

In much of his work, Francesco Vezzoli has mined Hollywood cinema, celebrity, and religion for inspiration. His 2011 exhibition Sacrilegio was presented in a church-like environment and incorporated digital copies of Madonna and Child paintings, in which the faces of Mary were replaced by those of supermodels. He has also created a fake trailer based on Gore Vidal’s Caligula, a mock political campaign featuring Sharon Stone and philosopher Bernard-Henri Lévy, and a narrative of his own death in the manner of the TV program E! True Hollywood Story. Complicating this is the artist’s vested interest in architecture, craft, and design, and in particular in Anni Albers, one of the Bauhaus’ key figures, who influences Vezzoli’s own work with textiles. Working in video, installation, embroidery, and other media, Vezzoli combines the sacred, profane, and popular with a generous sense of humor and critical eye. 

Francesco Vezzoli (b. 1971, Brescia, Italy) studied at the Central St. Martin's School of Art in London and currently lives and works in Milan. His work has been exhibited at many institutions including The Whitney Museum of American Art, New York; The New Museum, New York; MAXXI, Rome; Tate Modern, London; Castello di Rivoli Museo d'Arte Contemporanea, Turin; Fondazione Prada, Milan; Moderna Museet, Stockholm; and the Garage Center for Contemporary Culture, Moscow. Vezzoli lives and works in Milan.

fonte: @edisonmariotti #edisonmariotti More Information:[/url]
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Double burial and warrior body discovered as archaeologists find 21 Saxon skeletons in Suffolk villag

A double burial and a “warrior burial” with a large spearhead and dagger were among 21 skeletons found at a Saxon site with a medieval field system, say archaeologists who uncovered the 7th century remains ahead of a property development in Suffolk.

The double burial© Archaeological Solutions

The bodies, whose bones were protected by the local geology, included a “bed burial” with iron nails and eyelets, suggesting a wooden structure or incomplete bed beneath the body.

“This burial also included a glass palm bowl, probably from the Rhineland, as well as beads, a cowry shell, a defaced Roman coin and further glass fragments,” says Andy Peachey, a Specialist in Prehistoric and Roman Pottery for Archaeological Solutions, the team employed by Persimmon Homes to examine the area of Exning.

“Grave goods were common, and also included a gold-plated, copper-alloy strap end and brooch, silver chain links and other beads or toggles, fine copper alloy cloak fastenings, iron knives, keys and latch lifters.

“The 20 Saxon burials exhibited a very high degree of bone preservation due to the local geology, and contained 21 skeletons, as one grave contained a double burial. 

"The settlement of Exning, probably situated downslope closer to the river, reputedly had Royal connections in the Kingdom of the East Angles, including to King Anna, indicating a relatively high status of the occupants. But nonetheless, the discovery of this cemetery was unexpected.”

A Bronze Age barrow and Roman threshing floor were discovered, although Peachey admits the burials have been the “focal point”.

“Provisional examination of the finds suggests the burials date to the Conversion Period of around AD 640 to 680,” he says.

“The finds have now been carefully packed and dispatched to a laboratory for conservation, while the skeletons are being cleaned and avenues explored for scientific analysis, including isotope analysis.”

fonte: @edisonmariotti #edisonmariotti

ADHIKARA ART GALLERY AND MUSEUM - Contemporary modern art exhibitions - Swiss


fonte: @edisonmariotti #edisonmariotti - 

Museum of Modern Ceramic Art, Gifu Prefecture - Japan, most likely, has the largest number of ceramic museums in the world.

4-2-5, Higashi-machi, Tajimi-shi, Gifu-ken 507-0801
TEL: 0572-28-3100 FAX: 0572-28-3101
10:00am to 18:00pm (Visitors admitted until 17:30)
Closed Monday; also closed December 27 thru January 4 
(and closed Tuesday when preceding Monday is national holiday)

Japan, most likely, has the largest number of ceramic museums in the world. There are some incredibly fine museums dotted throughout the land both large and small. Some are devoted to a single potter while others cover one style or region. There are many that fall somewhere in between as well.

Recently a new ceramic museum opened in Tajimi City (Gifu Prefecture) as part of the large Ceramic Park complex just a short drive from Tajimi Station and down the road from the Gifu Prefectural Ceramic Museum. In the Ceramic Park is the wonderful Museum of Modern Ceramic Art, which I recently visited.
Entrace to Gifu Pref. Museum of Modern Ceramic Art
 Entrance to museum
The museum is: "focused on the theme of modern ceramic arts. The museum collects modern and contemporary ceramic works from within Japan and around the world. The museum's goal is to hold a variety of exhibitions in the future. In order to promote a new culture of ceramics, the museum also plans to collect and exhibit utilitarian ceramics, an area overlooked by most other museums, as well as industrial ceramics from the realm of modern design." 

The museum, which opened Oct. 12, 2002, is set in the side of a hill. It was designed by famed architect Arata Isozaki, and is possibly one of the finest ceramic museums in the world. Natural lighting, large rooms intermixed with smaller galleries, and fine Belgian-made display cases create the perfect ambiance for enjoying the treasures on show. And there are many.
Mid-Showa-Era works at the Museum of Ceramic Art, Gifu Prefecture
 Belgian-made display cases
Before one gets to see any of them, though, a walk through a long ceramic tunnel must be taken. The tunnel is covered with shards and they look as if they might fall off at any moment -- it does appear quite shoddy. This would be my only complaint about the place.

The building, as mentioned, is set in the side of a hill and is all below ground. I descended two floors before reaching the Mino exhibition. A lovely cascade of water flows outside and creates a most delightful and refreshing scene.
Water scene outside the Museum of Ceramic Art, Gifu Prefecture
 Water scene outside the new museum
There is the one museum and a large exhibition hall called Oribe Square. Until November 4, Oribe Square offered a look at selected and award-winning works from the Mino International Ceramic Competition. The setting was a spacious hall with subdued lighting and the first works were from the Ceramics Design section, from which I couldn't get out fast enough (see photo of black and white cups below). The Ceramic Arts section was a highlight, though, of my visit to the park.
Black & white cups, prize winner, Mino International Ceramic Competition
Black & White Cups
 Prize winner, Mino International Ceramic Competition
Over 130,000 people walked through the Mino Exhibition within 24 days! Entries were received from 57 countries for a total of 2,049 submitted works for both divisions, with only 233 being selected. Nishida Jun won the Grand Prize in the Ceramic Arts section (see below photo). Judges included Kaneko Kenji, Kato Kozo, Fukami Sueharu and Janet Mansfield out of a total of fourteen judges.
Grand Prize went to artist Nishida Jun for the above piece
Grand Prize went to artist Nishida Jun for the above piece
 Mino International Ceramic Competition
Other award winners at the Mino Exhibition can be viewed here:
divider line 

The other exhibit is "The Legacy of Modern Ceramic Art -- Part 1: From Artisan to Artist, The Evolution of Japanese Ceramic Art" 

On until January 19, 2003, this exhibit is a must for any ceramics enthusiast wanting to see the shift from large Meiji wares, made for export, to subdued tea wares, and then on into avant-garde Modernism that started in the 1950s. A virtual who's who of the last 100 years of Japanese ceramics -- with the notable exception of Tokuro Kato and Rosanjin Kitaoji -- the exhibition winds gracefully from room to room. Magnificent. Highlights include some fine and rarely seen large Meiji Era porcelains, a Kenkichi Tomimoto masterpiece of a jar in overglaze gold and silver, Mineo Okabe's mystical celadon, a rare look at Kazuo Yagi's groundbreaking "The Walk of Mr. Zamza (1954)," and a broad scan of modern sculptured forms including Yasuhara Kimei, Tsuji Shindo, Kamoda Shoji, Kumakura Junkichi, Koie Ryoji, Kakurezaki Ryuichi and Akiyama Yo; the list goes on. There are Tea forms as well from most of the known greats and I was pleasantly surprised to encounter a Bizen chawan made by Harada Shuroku. 

Meiji-era porcelain vase by Kato Tomotaro
 Meiji-era porcelain vase by Kato Tomotaro

Kenkichi Tomimoto masterpiece of a jar in overglaze gold and silver
 Tomimoto Kenkichi masterpiece - jar in overglaze gold and silver
Kazuo Yagi's groundbreaking
 Yagi Kazuo's groundbreaking "The Walk of Mr. Zamza" (1954)
Piece by Tsuji Shindo
 Piece by Tsuji Shindo
Bizen chawan made by Harada Shuroku
 Bizen chawan made by Harada Shuroku
What was also quite intriguing about the display was one could view a work, like the Harada chawan shown above, while gazing down into the gallery a floor below. 

A fine bilingual catalog is available showing all 305 works in color -- the last two in the catalog by Mihara Ken ! This catalog is available for online purchase at our sister site,

The Ceramic Park's Web site in English can be viewed at:
divider line 
 Other Scenes from the Museum and Oribe Square
Mizusashi by Miwa Kyusetsu (LNT)
 Mizusashi by Miwa Kyusetsu (LNT)
Tsubo (jar) by Ishiguro Munemaro
 Ishiguro Munemaro-- Tsubo (jar)
Lights work in first museum room
 Lights work in first museum room
Room Scene -- works by Takiguchi Kazuo and Kaneta Masanao and others
 Room Scene -- works by Takiguchi Kazuo, Kaneta Masanao, others
Background piece by Saito Toshiju, foreground by Itabashi Hiromi
 Background piece by Saito Toshiju, foreground by Itabashi Hiromi
Bowls by Akiyama Yo
 Background piece by Akiyama Yo
Piece by Hoshino Satoru
 Pieces by Hoshino Satoru

 Tall sculpture
Ornate piece by Tomita Mikiko
 Ornate piece by Tomita Mikiko
Ornate Arita-style Mizusashi
 Ornate Arita-style Mizusashi
White Flowers - Scultural Rendition
 White Flowers - Sculptural Rendition
View from above - large piece by Saito Toshiju
 View from above - large piece by Saito Toshiju

fonte: @edisonmariotti #edisonmariotti

Prière de toucher : l’accessibilité à l’honneur au musée du quai Branly

Le musée du quai Branly à Paris lancera samedi 29 novembre la 3e édition de sa semaine de l'accessibilité, livrant un programme culturel dense et adapté à tous les publics, à l'occasion de la journée internationale des personnes handicapées le 3 décembre.

Karibo /Wikimedia commons

Spectacle musical d’ombres, conteur d’histoires transportant le visiteur en Afrique, ou encore découverte sensorielle du Mexique grâce au toucher, à l’ouïe et à l’odorat… Des dizaines de spectacles, visites et animations, agrémenteront, pendant neuf jours, les collections permanentes et les expositions du musée, a annoncé lundi 24 novembre le musée consacré aux civilisations d’Afrique, d’Asie, d’Océanie et des Amériques.

En « accès libre et gratuit dans la limite des places disponibles », d’autres activités, comme des rencontres et des conférences, seront organisées à destination des familles, des personnes atteintes d’un handicap (moteur, visuel, mental, psychique ou auditif), mais aussi des professionnels de l’accessibilité.

« L’objectif pour nous, c’est à la fois de faciliter la participation des personnes en situation de handicap à la vie culturelle, mais aussi la mixité », a déclaré à l’AFP Stéphane Martin, le président du musée du quai Branly. Organisée tous les deux ans depuis 2010, la semaine de l’accessibilité est « devenue un événement important », affirme-t-il.

Vidéo de synthèse en langue des signes, reproductions tactiles et commentaires audio

Pour le quai Branly, c’est aussi l’occasion de mettre un coup de projecteur sur les efforts fournis par le musée pour concilier handicap et culture depuis son inauguration en 2006. Outre les manifestations ponctuelles organisées du 29 novembre au prochaine, de nombreux dispositifs permettent de répondre au handicap de chacun. L’exposition « Mayas, révélation d’un temps sans fin » est par exemple rendue accessible à travers une vidéo de synthèse en langue des signes, des textes en gros caractères ou « facile à lire et à comprendre », ainsi que des reproductions tactiles d’œuvres avec commentaires audio.

Une vingtaine d’œuvres d’art du musée ont également été restituées, en relief, le long d’un parcours tactile et multimédia appelé la Rivière, constamment enrichi depuis sa mise en place lors de la création du musée. « Il y a toujours des améliorations » à faire, reconnaît Stéphane Martin, soulignant qu’il ne suffit pas de mettre du braille, par exemple, pour répondre aux besoins des malvoyants, pas tous adeptes de cette forme de lecture.

Le handicap recouvre des formes très variées et des besoins spécifiques, explique-t-il, se félicitant de travailler étroitement avec cinq associations représentatives pour adapter l’offre culturelle de l’établissement.

fonte: @edisonmariotti #edisonmariotti

Anne-Sophie Pic, chef étoilée de Valence, va entrer au musée Grévin

La Valentinoise Anne Sophie Pic, femme chef la plus étoilée au monde, va entrer au musée Grévin l'année prochain et rejoindre son parrain, Paul Bocuse et un autre géant de la gastronomie française, Alain Ducasse.

La nouvelle a été diffusée hier sur Facebook. La Valentinoise Anne Sophie Pic, femme chef la plus étoilée au monde (trois étoiles à Valence à la maison Pic, vaisseau amiral du groupe ; deux étoiles au Beau Rivage Palace de Lausanne et une étoile à La Dame de Pic à Paris), va entrer au musée Grévin l'année prochain et rejoindre son parrain, Paul Bocuse et un autre géant de la gastronomie française, Alain Ducasse. Sur le devant de la scène gastronomique mondiale depuis plusieurs années, Anne-Sophie Pic et son mari David Sinapian sont à la tête d'un petit empire qui emploie plus de deux cents salariés. Outre les restaurants de Valence (le gastronomique et le bistrot), de Lausane et de Paris, ils possèdent aussi l'école Scook, une épicerie et une "cantine gourmande" nommée DailyPic à Valence. Enfin l'année prochain, le couple drômois ouvrira un établissement sur la légendaire Madison Avenue à New-York.

Anne-Sophie Pic et son mari David Sinapian. La chef entrera au musée Grévin l'année prochaine.1

fonte: @edisonmariotti #edisonmariotti

Au pays du comté, une fromagerie d'antan devenue musée

Elle a fermé ses portes en 1977. Le temps s'est arrêté à la petite fromagerie du Trepot dans le Doubs. Le lieu est désormais lieu de mémoire et de souvenirs.

Par Sophie Courageot
Publié le 27/11/2014 | 08:06, mis à jour le 27/11/2014 | 08:06
© France 3 Franche-Comté : Fabienne Le Moing Des objets d'antan dans l'ancienne fromagerie du Trepot (Doubs)

Des fromageries modernes, aseptisées. Heureusement, restent les souvenirs. Nos parents, grands-parents ont connu la petite fromagerie de village. Celle où l'on amenait son bidon de lait le matin. Celle ou tout un village convergeait au petit matin.

Au Trepot, la fromagerie a fonctionné de 1952 à 1977. Les premiers fromages y ont vu le jour en 1818. Gabriel Prost le fromager ne s'en doutait pas. Sa fromagerie est devenu un musée dans les années 80. 

Dans le musée, on trouve aujourd'hui ces objets d'antan, comme l'ancienne cuve. L'alimentation au bois se faisait ici par un système roulant.

Le site est porté par l'association des amis du musée. 

© Fromagerie Musée du Trepot Colette et Gabriel PROST : "Le retirage du fromage à la fromagerie en mai 1977"

Archives INA 1977 - La fromagerie ferme ses portes

Visiter la fromagerie musée
Visite guidée tous les jours en été
Visite sur rendez-vous hors saison. Réservations : Roland Philippe 03 81 86 71 06

fonte: @edisonmariotti #edisonmariotti

La fromagerie musée du Trepot
Reportage : Michel Buzon et Fabienne Le Moing avec Roland Philippe, président de l'association des amis de la fromagerie-musée - Simone Allemandet, ancienne boulangère de Trepot - Jean-Luc Foltête, ancien agriculteur de Trepot -