Listen to the text.

segunda-feira, 1 de dezembro de 2014

PEZ Travels: The Retz Fahrradmuseum, Austria

The world of cycling is truly diverse, encompassing sports, transportation, technology and social history. Set at a human scale, many of its stories and artifacts have been lost over the last century but much too has been saved.

In Europe many of the mainstream state museums, such as transportation wing of the Deutsches Museum in Munich, give short shrift to the two-wheeled past but one finds a surprising number of rather eccentric little museums heroically taking up the slack. PezCyclingNews has already taken you to museums in Belgium, Switzerland, the Netherlands, Italy and Germany but today we introduce you to yet one more, this time in Austria.

Retz is a town of 5,000, located in Lower Austria directly on the Czech border and some 80 kms northwest of Vienna. Dating back to 1180, the town has seen its fair share of events, including being destroyed during the Hussite Rebellion in 1425 and then again in the 17th Century during the Thirty Years’ War. Located in the Austrian Wine District (Weinviertel) it boasts one of the finest and largest market squares of any place in the country and the Gatterburg Castle, constructed between 1660 and 1670. In the basement of this city castle you will find the Fahrradmuseum Retz (simply “the Retz Bicycle Museum”) and its jovial proprietor/manager, Herr Fritz Hurtl.

Austria was of course once much more than Austria alone, ruling over a vast multicultural and multilingual empire until 1918 so it should be no surprise that the country once boasted a significant industrial base which included the manufacture of bicycles. In its collection numbering more than 90 examples the Retz museum covers the history of the bicycle from the days of the hobby horse/Laufmaschine craze of the 1820s up to racing bicycles of the 1980s with a particular emphasis on Austro-Hungarian brands. Some of these names still resonate even in the English-speaking world of models exported in the bike boom of the 1970s: Puch, Steyr, Austro-Daimler.

The basis of what you see in the museum, which includes not only complete bicycles but also accessories, pictures, advertising posters and parts, came from the collection of Herr Hurtl. With a band of supporters an association was formed and space was found in the castle cellar. In 1999 the museum was opened to the public and operates daily in the afternoon from May to October. Herr Hurtl is a great enthusiast and is delighted to discuss the finer points of the collection (although visitors may wish to note he does not speak English and his German bears a very strong Austrian dialect!). He was concerned that the museum may have to eventually relocate, something that seems to be a common problem for these small museums. The lease with the castle landlord was due to end in 2013 but is continuing for the moment but the association, “Verein ‘s Fahrradl im Schloss,” would like to have a permanent location of its own. The current space is not wheelchair-accessible and lacks space for special exhibitions.

Walking through the museum one sees a number of very early two-wheelers, including a replica of Baron Drais’ 1817 Laufmaschine, considered to be the first bicycle (at least in the German-speaking world!), and several others from the Iron Age of Cycling. There are some nice highwheelers as well but the major part of the collection covers the safety bicycle, in its myriad forms. There are bicycles with weird suspension systems or peculiar drivetrains and one is again reminded of the myriad avenues, many of them leading to dead ends, of technological innovation that characterized the development of the bike. In addition to the well-known Austrian brands mentioned, there are some quite obscure ones such as Burg, Jacobi and Miesenstöck along with French, Czechoslovak and German models. Particularly pleasing is the Bismarck bicycle with its two-speed bottom bracket transmission.

In the walls of the cellar there are niches which have been used to highlight objects of special interests. One of these features a Puch “Waffenrad” from 1915 and is devoted to the Puch story. Founded in 1889 in Graz by Johann Puch, the company was a successful manufacturer of bicycles under its “Styria” and “Puch” brand names. The first Paris-Roubaix race was won on a Styria bicycle ridden by Josef Fischer in 1896. In 1900 operations were expanded to include mopeds, motorcycles and even cars; by 1908 the company was already producing variable-gearing bicycles. By the time of the founder’s retirement in 1912 the Puch factory was producing 16,000 bicycles annually. In 1928 the company merged with Austro-Daimler and subsequently again with Steyr in 1934. Post-World War II the company produced a very wide range and Puch bicycles were ridden to many race successes by Austria’s best cyclists in Team ASKO Knittelfeld in the 1970s and 1980s but the collapse of the US export market post-1975 led to disastrous losses. The company was sold to the Italian firm Bianchi in 1987. The merged group is now part of the Swedish Cycleurope group, which includes other historic brands including France’s Gitane and Sweden’s Monark and is owned by the Monegasque royal family. The “Waffenrad” name is still used by Puch but the bicycles do not have the unique style of the model featured at Retz with it beautiful chainring!

The museum is packed with interesting artifacts although one must admit that the racing component is a bit weak. Nonetheless, everything is accessible (Herr Hurtl will move bikes for you if you want to take some photos—take that, Deutsches Museum!) and the whole project is one of great charm. It is worth the short trip from Vienna and provides the opportunity not only to enjoy the museum but also the very attractive town and the Weinviertel, whose attractions are quite obvious.

Fahrradmuseum Retz
Verein ” ‘s Fahrradl im Schloss”
Schlossplatz 5
A-2070 Retz
Österreich / Austria
Tel: 0664/ 6431791
Skype +43-664-6431791
website (primarily in German, but with English and Czech sections):
The museum is open daily from 14:00-17:00 May to October but can be visited otherwise by appointment. Admission is 3 Euros for adults.

fonte: @edisonmariotti #edisonbmariotti

When not wondering why so many of his cycling events take him to wine districts, Leslie Reissner may be found corked at

The Lost Zapotec: Vibrant Mesoamerican Civilization of The Cloud People

In the Valley of Oaxaca, located in the Southern highlands of Mesoamerica, an indigenous, pre-Columbian civilization, known as the Zapotec civilization or the “Cloud People”, flourished around 2,500 years ago. They left behind impressive ruins and provided a lasting influence to the many cultures that superseded them.

During the Monte Alban 1 phase (400–100 B.C.), the Zapotec civilization began to form in the Oaxaca Valley. They were the largest indigenous group in Oaxaca, with populations reaching approximately 350,000 at their height. Members of the Zapotec civilization created and developed a powerful state system that went through periods of development and decline. The Zapotecs can be divided into three distinct groups - the Valley Zapotec (in the Valley of Oaxaca), the Sierra Zapotec (to the north), and the Southern Zapotec (in the south and east, near the Isthmus of Tehuantepec). The peoples were primarily peasant farmers, living in communities of approximately 5,000.

A funerary urn depicting a seated figure from the Zapotec culture – 100 -700 A.D.
A funerary urn depicting a seated figure from the Zapotec culture – 100 -700 A.D.

Altogether, the Zapotecs lived in farming villages, mountain settlements, scattered ranches, rural areas, and two urban centers, Juchitán and Tehuantepec. A typical Zapotec community contained government buildings, a place of worship, school buildings, dry-goods stores, and possibly a health building or clinic. Their houses were made of stone and mortar. The Zapotec were hunters, and were believed to have hunted antelope, deer, jackrabbits, squirrels, horses, fox, rats, and quail. They did their hunting with darts and spears. They strategized hunting by disturbing bushes to drive squirrels and rabbits to a central location.

 Detail of an ancient Zapotec mosaic

Detail of an ancient Zapotec mosaic

Detail of an ancient Zapotec mosaic. Public Domain

The languages of the Zapotec civilization belong to an ancient family of Mesoamerican languages known as the Oto-manguean language family. Around 1,500 B.C., the Oto-manguean languages began to split off, creating differing languages across the regions. The Zapotec language is a tone language, which means that the meaning of a word may vary based upon the tone with which the word is spoken. Today, the Zapotec language is still heard in parts of the Northern Sierra, the Central Valleys, the Southern Sierra, the Isthmus of Tehuantepec, along parts of the Pacific Coast, and in parts of Mexico.

The Zapotecs developed their own logosyllabic system of writing, which assigned a symbol to each syllable of their language. This is believed to be one of the first writing systems created in Mesoamerica, and a predecessor of the Mayas, Mixtec, and Aztec writing systems. Their writings were to be read in columns, from top to bottom. The Zapotec used their writing system to record important events in their civilization’s history. Archaeologists have found many Zapotec writings, but a number of them still remain to be deciphered.

The religion of the Zapotecs was polytheistic, with two primary deities. The deities included rain god Cocijo, and Coquihani, the god of light. Their lower-level deities were both male and female, often focusing on agriculture and fertility. The males wore breechclouts and capes, and the females wore skirts. There is some variation as to what the Zapotecs believed of their origins. Archaeological evidence suggests that they believed their ancestors emerged from the earth or caves, or that they formed from jaguars or trees. Alternatively, there is some indication that they believed to have descended from supernatural beings living among the clouds, a status they would return to upon death.

Mesoamerican sculpture, said to be a Bat God of the Zapotec religion
Mesoamerican sculpture, said to be a Bat God of the Zapotec religion. Public Domain

The Zapotecs are an example of an ancient civilization that experienced periods of both thriving and struggling. There is no trace of a violent destruction, and the reason for their decline is unknown, although it occurred during a time of much conflict in the area. Their location was later adopted by the Mixtec as a sacred site, and royal burial location, and can still be visited to this day.

Featured image: Panoramic of the Zapotec ruins of Monte Alban, Oaxaca, Mexico. Wikimedia, CC BY-SA 3.0


Zapotec Civilization – Ancient History Encyclopedia. Available from:

Zapotec Civilization – Crystalinks. Available from:

Zapotec Civilization – Maya, Inca, Aztec. Available from:

Zapotec – Encyclopedia. Available from:

Zapotec Civilization – Wikipedia. Available from:

By M R Reese

- fontet:  @edisonmariotti #edisonmariotti

paul kaptein warps wooden sculptures with glitch effects

paul kaptein warps wooden sculptures with glitch effects
all images courtesy of paul kaptein

paul kaptein warps wooden sculptures with glitch effects

australia-based artist paul kaptein unites materiality with virtual reality in his series of sculptural wooden works, adding digital ‘glitches’ into each hand-carved piece. the warped and distorted proportions of a seated monk for ‘and in the endless sounds there came a pause’ are perceived as a mind-bending illusion, as the figure’s body unusually undulates and swerves as if interrupted by software. ‘every breath, a dying star’ and ‘limber’ introduce rectangular and circular apertures into the composition, allowing the viewer to peek through gaps in the otherwise solid wooden volume. each sculpture expresses a distinct mix between data streams and information networks typically seen on screen, and the intricate craftsmanship and tangibility inherent in the handmade works.

and in the endless sounds there came a pause, 2014
laminated hand carved wood
63 x 61 x 61 cm

back view of ‘and in the endless sounds there came a pause’

the making-of ‘and in the endless sounds there came a pause’

every breath, a dying star, 2014
laminated hand carved wood, graphite
50 x 48 x 28 cm

limber, 2013
laminated, hand carved wood (poplar – liriodendron tulipifera)
h83 x w45 x d19

detail of ‘limber’

the archivist, 2013
laminated, hand carved wood (poplar – liriodendron tulipifera)
h35 x w9 x d8cm

untitled, 2014
laminated, hand carved wood
h58 x w28 x d30cm

a fast death (supernumerary), 2013
laminated, hand carved wood (jelutong – dyera costulata, western red cedar - thuja plicata)
h21 x w17 x d39

side view of ‘a fast death (supernumerary)’
fonte: @edisonmariotti #edisonmariotti

The Museum of Ceramics, which is operated by the Museum of Ceramics Foundation and the Ohio Historical Society, houses an extensive collection of the wares produced in the city long known as "America's Crockery City" and "The Pottery Capitol of the Nation."


Related displays on East Liverpool's social, political and economic history show the impact of the industry on the community and the nation. During the late nineteenth century, ceramic manufacturing was more important in East Liverpool than are today's steel production in Pittsburgh or automobile manufacturing in Detroit.

The Museum is on the National Register of Historic Places. It occupies the former city post office, which was built in 1909. The renovation of this structure as a museum is an excellent example of the adaptive use of old buildings which no longer serve their original purpose.

In 1903, the Federal Government purchased the 10,000-square foot lot at East Fifth Street and Broadway from William Brunt Sr. for $30,000. Plans were prepared by James Knox Taylor of the Treasury Department for a 76'-by-76' one-story building with a basement. On January 20th, 1908 the United States Treasury Department awarded the construction contract to John C. Unkefer of Minerva Ohio. The cornerstone was laid on July 8, 1908 and construction on this handsome granite and limestone building began in earnest.

The building is entirely constructed of fireproof materials, has forty-two windows in all, and contains many interesting architectural features. These include the ornately decorated domed ceilings, solid oak trim, and a beautiful marble and terrazzo floor. The total cost of the building, excluding furnishings, was $100,000. Construction was completed and the new post office opened to the public on June 15, 1909. The post office remained in the building until 1969, when a new post office building was constructed on the other side of town. In 1970, the state of Ohio purchased the building in anticipation of developing a museum. The building was subsequently designated as The Museum of Ceramics in the spring of 1980. The southeast corner of the main lobby displays a painting of James Bennett's first pottery by Roland Schweinsburg, circa 1938.

The exhibits in the Museum depict the growth and development of East Liverpool and its ceramic industry from 1840 to 1930, the period during which the city's potteries produced over fifty percent of America's entire ceramics output. Through the skillful use of photographs, ceramic and other artifacts and life-size dioramas, the exhibits vividly portray the products and day-to-day life of one of Ohio's most fascinating cities.

The Museum of Ceramics is locally managed by the Museum of Ceramics Foundation. The Museum is one of a number of locally managed historic sites operated by the Ohio History Connection, which is headquartered in Columbus, Ohio. The Museum is part of a statewide network of over five dozen museums, historical, archaeological, and natural history sites operated by the OHC. You can learn more about the OHC via their web site 

fonte: @edisonmariotti #edisonmariotti 

Germany: memories of a nation - Modern Germany as we know it today was born 25 years ago with the fall of the Berlin Wall (9th November 1989).

Since 1990 this new Germany has had to think about its relation to the history of East and West Germany and all the Germanies before that, the country's identity has been shaped not only by modern history but by a rich narrative stretching back over the past 600 years. Throughout its history, Germany has been notable for internal political and religious complexity and loose and ever changing frontiers. Germany's history is one of the most complex and important in Europe and has had a profound effect on the past, our present and future.

Sponsored by Betsy and Jack Ryan, Germany: memories of a nation features 200 objects selected to reflect on a number of key themes: floating frontiers; empire and nation; arts and achievement; crisis and memory. The result is necessarily impressionistic and focusses on a key period of 600 years, from the 15th century to the present day.

Rare loans from venues across Germany are displayed, most of which have never been seen in the UK before. From the most famous and iconic portrait of any German in history, the huge portrait Goethe in der Campagna by Tischbein, generously lent by the Städel Museum in Frankfurt, to an early edition of Grimms Fairy tales, to a home–made banner from the demonstrations of late 1989 cut in the shape of a united Germany and carrying the inscription Wir sind ein Volk – ‘we are one people’, this exhibition tells diverse and fascinating stories through objects which embody the memories shared by all Germans. German cultural achievement cannot be overestimated, in the creation of objects of both beauty and purpose.

The production of the Gutenberg Bible in the early 1450s marked the creation of modern Europe, the imperial cities of Nuremberg and Augsburg have been home to an enduring metalworking tradition. Germany's contribution to printmaking and in particular the genius of Albrecht Dürer, the first great artist in a mass-produced medium, the rediscovery of porcelain technique by the Meissen factory and the work of the Bauhaus changed the world and are witness to Germany’s enduring impact in the cultural world.

The devastating and tragic events of the first half of the 20th century inevitably shape modern perceptions of German history and culture. The exhibition reflects these events through the works of witnessing artists and evocative objects of the time. Otto Dix prints reflect on World War I, banknotes issued during the period of hyperinflation to financial crisis in the 1920s and works by Käthe Kollwitz’s memorialise of the political chaos that followed 1918. A loan from the Buchenwald concentration camp, the camp’s replica gate with its inscription in elegant Bauhaus lettering stating ‘to each his own’ is a powerful reminder of how established legal precepts can be utterly debased and flouted; a simple refugee cart is testimony to the largest organised deportation in history as Germans from across Europe were forced to return to the re-drawn borders of East and West Germany after 1945. When a once more divided Germany had to engage with this past and create a present that could accommodate it, a process that modern Germany continues.

The end of the exhibition is dominated by the hovering figure of Ernst Barlach’s Der Schwebende, a mourning figure in solid bronze designed for Güstrow Cathedral initially as a memorial to those who died in World War I. Its subsequent fate has meant it has become a distillation of Germany’s 20th century history and a powerful symbol of the strength of reconciliation. It is being generously lent by the Evangelisch Lutherische Domgemeinde Güstrow for the first time.

An accompanying radio series ‘Germany: Memories of a Nation’ on BBC Radio 4 will broadcast, Mon-Fri at 9:45am, beginning on 29 September. The series will examine the key moments that have defined Germany’s past, it’s great, world-changing achievements and its devastating tragedies, and explore the profound influence that Germany’s history, culture and inventiveness have had across Europe.

‘Germany: Memories of a Nation’ by Neil MacGregor will be published in hardback by Allen Lane on 6th November price: £25.00

Notes to Editors:

The exhibition runs from 16 October 2014 – 25 January 2015. Opening hours 10.00–17.30 Saturday to Thursday and 10.00–20.30 Fridays.

Admission charge £10 plus a range of concessions. Members and children under 16 go free. Tickets can be booked online at or on 020 7323 8181.

Follow updates on the exhibition via Twitter on #MemoriesOfANation and the Museum’s Twitter account @britishmuseum

An extensive public programme will accompany the exhibition including: an event on Anglo-German relations on 31 October featuring Rudiger Gorner, Philip Oltermann, and Rosemary Ashton; an event on 17 November with Chatham House; an evening of ‘Perspectives on 1989’ with Timothy Garton-Ash on 28 November and activity around ‘Germany Today’ in January 2015 in association with the London Review of Books. More information is available from the press office.

The exhibition runs concurrently with The other side of the medal: how Germany saw the First World War in room 69a. This display will examine a selection of medals made by artists who lived and worked in Germany between 1914 and 1919. Challenging and at times deliberately provocative, many of the medals were intended to influence popular opinion against Germany’s enemies. Others provide a more universal criticism about the futility of war and waste of human life. Ends 23 November 2014.

For further information
please contact the Press Office on 020 7323 8583 / 8394 or

High resolution images and caption sheet available here.

For public information please visit or 020 7323 8181

fonte: @edisonmariotti #edisonmariotti

Dans la Rome éternelle, un musée «de l’ailleurs» qui revendique la marginalité

Situé dans un coin de Rome où les touristes ne s’aventurent guère, le Musée des Autres et de l’Ailleurs de Metropoliz (MAAM), revendique la marginalité, jusque dans ses murs, ceux d’une usine occupée où les «gardiens» sont des sans-abri.

Le Musée des Autres et de l'Ailleurs de Metropoliz (MAAM) à Rome, le 25 novembre 2014

Le Musée des Autres et de l'Ailleurs de Metropoliz (MAAM) à Rome, le 25 novembre 2014 (Photo Alberto Pizzoli. AFP)

«La police peut débarquer demain et expulser tout le monde», explique Giorgio de Finis, créateur de ce projet unique, de plus en plus considéré comme l’un des espaces d’art les plus innovants de la ville éternelle.

Du 28 novembre au 6 décembre le MAAM accueille «Iron and fire» (fer et feu), une exposition de l’artiste italien Paolo Buggiani, contemporain d’Andy Wharol, qui dans les années 70 et 80 faisait partie de la scène new-yorkaise du pop art.

Mais les visiteurs devront attendre le samedi, seul jour d’ouverture de ce musée, qui revendique sa différence avec les autres musées d’art contemporain de la capitale comme le MAXXI ou le MACRO.

Le MAAM, implanté dans une ancienne usine de salamis dans l’est délaissé de la capitale italienne, se situe résolument à la périphérie, tant du point de vue géographique que culturel.

Situé à deux pas du quartier de Tor Sapienza, où la population locale s’est révoltée contre un centre d’accueil de migrants, il est aussi résidence pour quelque 200 personnes, Italiens, Roms et migrants de toutes nationalités, dont une cinquantaine d’enfants.

Le MAAM a beaucoup évolué au cours des cinq dernières années, pour devenir aujourd’hui, explique son créateur, une sorte d’oeuvre d’art vivante, centrée sur le quotidien en mouvement de ses résidents, artistes et «squatteurs», et de leur avenir incertain.

Un résultat obtenu avec l’aide de centaines d’artistes, intrigués par la vision de Giorgio De Finis, anthropologue fasciné par l’urbain et réalisateur de films documentaires sur l’architecture et la ville.

Les artistes de rue ont été les premiers à investir les lieux, vite suivis par un flux croissant d’artistes contemporains de tout bord, dont certains à la réputation déjà faite, comme Buggiani, aujourd’hui âgé de 81 ans. Tous travaillent gratuitement.

«Si un seul euro change de mains, la totalité du projet s’effondre», insiste son créateur.

- «Une histoire sans fin» -

«Pour le moment, c’est une histoire sans fin», explique De Finis, en faisant avec l’AFP le tour des oeuvres d’art du musée, toutes imbriquées dans les espaces de vie de ses «gardiens».

«Je peux imaginer trois issues à ce projet: les propriétaires envoient la police et font tout fermer, ils décident de se réapproprier le lieu avec tout ce qu’il contient maintenant, ou il meurt de sa belle mort avec l’accord de tous», explique-t-il.

Heureusement, dit-il, la première solution est peu probable, les autorités ne voulant pas être accusées d’avoir vandalisé un projet culturel qui rassemble le travail d’artistes contemporains parfois très connus.

Occupé d’abord en 2009 par BPM, un groupe radical défendant le droit au logement, après la vente de l’usine à un promoteur, le bâtiment est partiellement en ruines.

Mais cette fragilité a aussi contribué à la cohésion de tout l’ensemble, grâce au travail des artistes, venus «réparer» les lieux en ayant souvent recours aux matériaux sur place.

Un ascenseur hors d’usage est par exemple utilisé par l’artiste visuel Michele Welke pour une oeuvre métaphorique sur le rôle de l’argent dans l’art et dans l’élévation sociale.

Une autre salle, utilisée autrefois pour écorcher les carcasses de porc, est maintenant le lieu d’une gigantesque peinture murale, oeuvre de deux peintres espagnols, Pablo Mesa Capella et Gonzalo Orquin.

Intitulé E-MAAMCIPAZIONE, on y voit une série de cochons pendus, les deux derniers parvenant à s’échapper.

Plus loin, les cages autrefois utilisées pour enfermer les animaux, servent d’installation à l’artiste allemande Susanne Kessler, pour une oeuvre baptisée «Guantanamo».

Mustapha Labiki, Marocain et résident du musée, est ravi de cette cohabitation avec les artistes et de ce capharnaüm. «Cet endroit attire toutes sortes de gens. Il y a toujours quelque chose qui s’y passe, quelqu’un à qui parler. Et ça, c’est très positif, particulièrement pour les adolescents, ça les aide à ne pas trainer dans la rue», explique-t-il.

fonte: @edisonmariotti #edisonmariotti

Un musée pour interroger notre rapport à l’Afrique

L’Algérie, plus grand pays d’Afrique, réceptionnera d’ici cinq ans un musée dédié aux arts et traditions du continent. Une aubaine pour découvrir des collections inestimables et découvrir des expositions cotemporaines d’artsites africains.

«Le projet du Grand musée d’Afrique est une excellente opportunité pour Alger. Constate Salhia Hamiche, architecte ayant travaillé sur des projets liés à la sauvegarde du patrimoine de plusieurs régions de notre pays. On peut être pour ou contre sa construction. Cependant, l’idée d’avoir un tel édifice vivant au cœur d’Alger ouvre beaucoup de perspectives, et rehausse l’image que nous avons de la capitale. Cette dernière souffre de la vétusté de ses quartiers, de son vieux bâti et des architectures improbables», déplore-t-elle.

Le Grand musée de l’Afrique sera livré en 2017, d’après l’architecte concepteur Nadir Tazdaït, qui confie que c’est le cas de tous les bâtiments «iconiques» de par le monde. Puisqu’ils sont des prototypes et demandent de la patience pour les réaliser dans «les règles de l’art».
Le projet de ce musée, lancé par l’Union africaine, sera construit sur la baie d’Alger, le long de la Moutonnière qui mène du centre- ville à l’aéroport. Les collections du futur musée figurent parmi les plus significatives en Afrique. Elles témoignent d’une part de l’histoire du continent, et d’autre part de l’immersion dans les différentes facettes de l’art africain, qui se déploiera de façon progressive dès l’entrée dans le musée. Ce projet constitue un «acte politique fort à l’adresse du monde. Ce message est porté par l’Union africaine, représentée par l’Algérie, à la pointe géographique du continent, bordée par la Méditerranée, autre creuset de la civilisation», lit-on dans le descriptif du projet.

Si le musée est de grande envergure, il n’en demeure pas moins qu’il suscite aussi des interrogations. «Je ne suis pas pour la construction du Musée de l’Afrique à Alger, l’espace octroyé pouvait servir à un autre projet. Je trouve son emplacement stratégique pour une ville qui se développe rapidement, affirme Saleh Berkouk, urbaniste et artiste peintre. «Les Algériens n’ont pas ou peu conscience de leur identité africaine, et très loin des réalités du continent. Ce n’est pas un musée qui va résoudre ce fossé créé par les politiques. Nous sommes dans un pays qui refuse les étrangers. L’Etat ramasse en masse des Nigériens pour les mettre dans un avion, il faut être réaliste, jamais l’art africain n’aura sa place dans notre culture imperméable au monde artistique!»

fonte: @edisonmariotti #edisonmariotti

Le musée mettra en avant cinq grandes périodes :
-Les grands bouleversements climatiques de 10 000 à 5000 av. J.-C. et l’art pariétal (art réalisé sur les parois des grottes) en Algérie, au Mali, en Afrique du Sud et en Namibie.
-Les civilisations de 3000 av. à 1000 ap. J.-C. avec les contributions des musées du Caire, de Khartoum et de Lagos, un éclairage sur les Coptes et les débuts de l’Ethiopie chrétienne à Axoum, ainsi que les pierres levées et sculptées au Sénégal et en Gambie.
-Les développements de 1000 à 1500 ap. J.-C. : l’ancienne cité du Grand Zimbabwe, l’extraction et le commerce de l’or, les premiers contacts arabo-africains et avec l’Asie, les grandes routes transsahariennes et l’épopée des Tellem et des Touareg, le rayonnement de Tombouctou, où est installée la première université du monde.
-Les traites orientales et occidentales et les récits d’installation de 1500 à 1890.
-Les artistes modernes et contemporains face à l’histoire de 1900 à aujourd’hui.

Papa Francisco esteve no museu que já foi a maior igreja da Cristandade

 Papa reza na Mesquita Azul e visita museu que já foi igreja

Depois de visitar Santa Sofia, o Papa foi também à Mesquita Azul. A partir desta tarde a sua visita assume contornos mais ecuménicos, com o encontro com o Patriarca de Constantinopla.
29-11-2014 10:05 por Filipe d’Avillez e Aura Miguel, em Istambul

O Papa Francisco já se encontra em Istambul, onde esta manhã visitou dois dos maiores símbolos religiosos daquela cidade.

Depois de aterrar, Francisco foi conduzido até à mais importante mesquita da cidade, conhecida como a Mesquita Azul, que já tinha sido visitada por Bento XVI aquando da última viagem de um Papa à Turquia.

Lá foi guiado pelo grão-mufti de Istambul que lhe fez uma explicação sobre o espaço, e houve um pequeno momento de silêncio para reflexão.

A seguir Francisco visitou o Museu de Santa Sofia que já foi, em tempos, o maior local de culto da cristandade.

No século XV, contudo, depois de a queda da então capital do Império Romano do Oriente às mãos dos invasores otomanos, Santa Sofia foi convertida em mesquita.

Já no século XX o pai da república turca, Kemal Ataturk, transformou a mesquita em museu, e é assim que permanece actualmente.

A parte final da visita do Papa decorreu ao som do muezzin, a chamada de oração islâmica, perfeitamente audível dentro da basílica e na transmissão televisiva da visita. Foi ao som deste chamamento que Francisco assinou o livro de visitas e procedeu à troca de lembranças com os membros da equipa do museu que o guiaram.

Centenas de pessoas marcaram presença nas ruas. A cidade tem uma pequena comunidade cristã, entre ortodoxos e católicos, mas muitos muçulmanos e curiosos também quiseram ver o Papa. As medidas de segurança têm sido particularmente apertadas nesta visita.

A Turquia é um dos mais importantes países do mundo islâmico, o que dota esta viagem de Francisco de um simbolismo inter-religioso muito importante. A importância do diálogo entre as religiões e a recusa do fanatismo ou extremismo têm sido um tema central nos discursos do Papa desde que chegou ao país, na sexta-feira.

A partir desta tarde, porém, o programa de Francisco assume contornos mais ecuménicos. O Papa será recebido por Bartolomeu I, o Patriarca de Constantinopla e “primus inter pares” dos patriarcas ortodoxos.

Os dois têm formado uma forte amizade, como ficou visível na visita que ambos fizeram à Terra Santa este ano, onde reafirmaram o seu compromisso de trabalhar pela unidade dos cristãos. Quando Francisco foi eleito, Bartolomeu esteve presente na sua missa inaugural e os dois saudaram-se de forma calorosa.

A visita do Papa Francisco à Turquia termina no domingo, com o regresso a Roma marcado para as 15h00.

fonte: @edisonmariotti #edisonmariotti

Museu recebe encontro sobre a valorização da mulher negra, no ES

Valorização dos cabelos naturais afros e cacheados é a principal temática. Programação termina neste domingo (30), em Vitória.

Mucane recebe encontro com debates sobre
racismo e igualdade racial (Foto: Divulgação/ PMV)

O Museu Capixaba do Negro (Mucane) está com uma programação cultural especial neste fim de semana. Trata-se do I Encontro de Afros, Dreads, Crespas e Cacheadas do Espírito Santo, que já começou nesta sexta-feira (28) e vai até domingo (30), em
Vitória. A valorização do uso dos cabelos naturais afros e cacheados é a principal temática das oficinas que serão realizadas no encontro. Mas o evento ainda conta com debates sobre o racismo, a consciência negra, a luta e contribuição pela igualdade racial. O encontro vai promover a cultura, diversidade e a arte afro-brasileiras com exposições, desfiles, rodas de conversas, apresentações musicais e oficinas.

O combate ao estereótipo da mulher negra que é veiculado nas grandes mídias também será uma das principais discussões. “O evento tem como pauta macro o combate ao racismo, e contrapõe a cultura eurocêntrica, mostrando o empoderamento para a mulher negra. O lugar da mulher negra é onde ela quiser, desde que ela queira”, afirmou acoordenadora da Subsecretaria de Movimentos Sociais, Leonor Araújo.

I Encontro de Afros, Dreads, Crespas e Cacheadas do
Espírito Santo
Local: Museu Capixaba do Negro (Mucane)
Endereço: Avenida República, nº 121, no Centro de Vitória
Quando: programação começou nesta sexta-feira (28), ams continua neste sábado (29) e domingo (30).

 Entrada gratuita
fonte: @edisonmariotti #edisonmariotti


“Todas las teorías son legítimas,
no hay duda de ello.
Lo que sí genera dudas es como se aplican”. 
Jorge Luís Borges

Imaginad por un momento que os llega la noticia de que habéis heredado una vieja mansión full equip, es decir, con todo su contenido incluido. Es una mansión cuya propiedad siempre se ha mantenido dentro de la familia. Data aproximadamente de finales del siglo XVIII y todo lo que hay dentro: muebles, enseres, objetos, cuadros, fotografías, etcétera, permanecen allí desde hace generaciones. En la mansión hay una gran colección de recuerdos que forman el legado histórico de tu familia a lo largo de su existencia. Pero, puede darse el caso, no muy común por otra parte, que después de visitar lo que te ha tocado en gracia, comiences a reflexionar sobre que en realidad ese legado, ahora tuyo, es la narración de una historia muy interesante en un lugar determinado, durante un tiempo definido y que puede ser de valor que la sociedad lo conozca. Comienzas a plantearte la posibilidad de crear un museo donde ahora es tu mansión siglo XVIII heredada, para que no solo sea un lugar bello con propietario, sino un sitio de aprendizaje sobre esa historia mostrada a todos aquellos que tengan interés por conocerla. Un pensamiento noble digno de nuestra más absoluta admiración, y más si se hace realidad porque te convertirás en nuestro héroe. Pero antes de tomar decisiones, tu, el propietario de la mansión colonial, hoy posible promotor de ese museo, debe saber lo que a continuación os vamos a contar.

Imagen: Superhéroes limpiando los cristales del Hospital para Niños de Pittsburg (EEUU) de Pittsburg Tribune Bracroft

Crear un museo es una labor increíblemente compleja en la que vas a adquirir un buen número de compromisos y de obligaciones. No te lo decimos para que te desanimes, queremos ser realistas y mostrar la realidad de las cosas. En cualquier caso, alguna de las asociaciones relacionadas con los museos que hay en el mundo te pueden ayudar a conocer con detalle esas obligaciones y compromisos, además de otras muchas cosas. Nosotros te recomendamos que te pongas en contacto con el ICOM (Consejo Internacional de Museos), ellos harán lo posible para que puedas llevar a cabo tu proyecto entendiendo que leyes y regulaciones se te exigirán para la creación de ese nuevo museo. Este recurso es la herramienta para hacer la lista de cosas y acciones que va a tener que emprender. Nosotros creemos que, llegados a este punto, deberías ponerte en manos de un profesional de los museos.

Archivo EVE

Nos pretendemos barrer para casa, pero nosotros defendemos la idea de crear un equipo consultor multidisciplinar formado básicamente por un gestor cultural, un museólogo, un museógrafo y un arquitecto – reformas y accesibilidad -. Las reuniones previas con este equipo son las que determinarán el éxito o no del proyecto del nuevo museo. Para empezar, consideramos que hay que hablar de dinero, definir el presupuesto que el equipo considere que se va a necesitar para crear el museo. Una vez tengamos una cifra aproximada, el equipo se pondrá manos a la obra para ayudarte a conseguir la financiación, – se supone que no quieres poner todo tu dinero encima de la mesa, además, bastante haces con ceder tu propiedad a la comunidad -. Posiblemente tengas que crear una fundación, un patronato que te ayude con aportaciones externas de dinero, posibles subvenciones (cada vez más escasas), y que gestione el museo con la contratación de un director. Si has llegado hasta este punto sin salir corriendo, vamos a resumir ahora lo que es necesario que sepas antes de que lo hagas (lo de huir):

1. Debes aprender sobre qué son los museos. Hay organizaciones de toda clase que pueden ayudarte a mostrarte que es un museo en realidad, por dentro y por fuera. La Asociación Española de Museólogos (AEM) aquí ó la Asociación deProfesionales de la Museología de España (APME) aquí también y además delICOM, te pueden ayudar. Hay muchas más repartidas por la mayoría de los países.

2. Debes identificar un objetivo, necesidades y recursos. El éxito de tu museo dependerá de que tengas un objetivo sólido, con un claro propósito, con los recursos adecuados y estableciendo conexión con tu comunidad. Este punto te ayudará a evaluar esos objetivos y sus metas.

3. Crear el Museo. Si has llegado hasta aquí sano y salvo, necesitarás entender todas y cada una de las obligaciones legales, tema hacienda – y más si has decidido cobrar la entrada -, tema contratación de personal, administración de proveedores y gastos, o sea, la gestión general del museo, etcétera, que debes afrontar para que el Museo se ponga en marcha.

4. Mantener tu Museo abierto. Cuando el museo ya está reconocido legalmente como tal, cuando por ley ya existe, necesitarás entender al detalle lo que podríamos denominar la gestión de la entidad en el día a día, todo lo relacionado con el cuidado de las colecciones, gestionar tu equipo profesional y pelear para que el museo sea económicamente viable.

Si has hecho todo esto y ya tienes tu museo abierto, ¡Enhorabuena! Apareceréis en el Agendas Mundi en cualquier momento.

fonte: @edisonmariotti #edisonmariotti  Espacio Visual Europa (EVE)