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quarta-feira, 21 de janeiro de 2015

Arqueologia e Memória: Oficina para a Terceira Idade no MAE da USP

Agência FAPESP – O Museu de Arqueologia e Etnologia (MAE) da Universidade de São Paulo (USP) oferece a oficina “Arqueologia e Memória: Oficina para a Terceira Idade no MAE da USP” de 25 de fevereiro a 1º de julho, todas as quartas-feiras das 14 horas às 16h30.


A atividade é gratuita. Há 25 vagas disponíveis. As inscrições podem ser feitas de 2 a 24 de fevereiro, das 8 às 12 horas e das 13 às 16 horas pelo e-mail educativo.mae@usp.br ou telefone (11) 3091 4905.

Durante a oficina, serão realizadas atividades educativas e lúdicas que envolvem reflexões sobre Arqueologia, Etnologia, Museologia e Objetos Biográficos; elaboração de trabalhos com várias formas de expressão (escrita, desenho, bordado, cerâmica) relacionados às reflexões sobre os conhecimentos acima; e elaboração e montagem de exposição. A atividade faz parte do Programa Universidade Aberta à Terceira Idade da Pró-Reitoria de Cultura e Extensão Universitária (PRCEU) da USP. 
 
fonte: @edisonmariotti #edisonmariotti http://agencia.fapesp.br/arqueologia_e_memoria_oficina_para_a_terceira_idade_no_mae_da_usp/20507/

You Should Be Watching: Contemporary Collecting in Museums



As many museums confront issues of limited storage space and the costs associated with maintaining and conserving their collections, the question of what artefacts are worthy of collecting has become increasingly important. At the same time, museums must be willing to adapt to the changing expectations of their visitors in an increasingly fast-paced and technologically advanced time. The following five videos from three different institutions explore different approaches to contemporary collecting in museums. What do you think of museums commissioning designed objects specifically for their collections, in the case of the ROM and the Museum of London, or collecting objects the minute they hit the headlines, in the case of the V&A? We welcome your comments below.

1. Christian Dior Haute Couture for the ROM

Two videos from the Royal Ontario Museum in Toronto outline the museum’s acquisition of a Christian Dior Couture coat dress, displayed in the exhibition ‘BIG‘ in 2012-2013. Named ‘Passage #5,’ the dress is from the Spring/Summer 2011 Couture collection, inspired by the illustrations of René Gruau and designed by John Galliano (in a collection which would be his last for Dior, a fact which the ROM would not have been able to predict at the time of their order, but has no doubt added value to the garment as a result). The first video, also commissioned by the ROM, follows the creation of the dress in the Paris ateliers of Christian Dior, as well as the pleating atelier Lognon and embroidery house Hurel. Beautiful shots of the Dior seamstresses at work are interspersed with footage of the dress being modelled on the catwalk. The second video briefly shows the curators at the ROM unpacking the delivery of the Dior dress and its accessories to a small, anticipating audience. The museum’s acquiring of this piece raises questions surrounding motives for collecting. The ‘Passage #5′ dress was created specifically for the ROM in standard judy measurements and traveled directly from Dior’s ateliers in Paris to the museum store room, scarcely inhabiting the ‘outside’ world and never worn by an actual person. Does this lack of provenance diminish the historical significance or value of the object, or is the ROM making a statement regarding fashion’s place in the museum, as a work of art and craftsmanship worthy of just as much admiration as a painting?
link video
https://www.youtube.com/watch?v=u_RC9Cxjqig&x-yt-ts=1421782837&feature=player_embedded&x-yt-cl=84359240
https://www.youtube.com/watch?feature=player_embedded&x-yt-ts=1421782837&v=kn4Zoyw_2rI&x-yt-cl=84359240


2. Rapid Response Collecting at the V&A

This Lighthouse Arts Monthly Talks video features Corinna Gardner, curator of contemporary product design at the Victoria & Albert Museum in London. Gardner discusses the museum’s recent ‘rapid response collecting’ strategy and its reception by the public over the past year. Seeking items that represent ‘material evidence of social, political, economic and technological change,’ the museum has acquired the world’s first 3-D printed gun, a pair of Primark cargo pants that may have been made at the Rana Plaza factory in Dhaka and Christian Louboutin’s Nudes Collection high-heeled shoes. Gardner states that the V&A wants to generate ‘discussions and debates about objects in the institution while they’re still ongoing,’ but the museum has been accused by some of collecting sensationalized objects based solely on their headline-grabbing status.

Read more reactions to the V&A’s rapid response collecting from The Guardian and The Independent.
link video 
https://www.youtube.com/watch?v=mRoyjaJU5HM&x-yt-ts=1421782837&x-yt-cl=84359240&feature=player_embedded


3. Sherlock Holmes Tweed for the Museum of London

Coinciding with the exhibition Sherlock Holmes: The Man Who Never Lived and Will Never Die, the Museum of London has commissioned the creation of a Sherlock Holmes Tweed fabric, as well as a deerstalker hat and three-piece suit made from this tweed. Designed and created by Lovat Mill of Hawick, Scotland, the tweed is intended to represent the city of London while incorporating colours that feature prominently in the stories of Sherlock Holmes. After a series of mesmerizing shots of the tweed in production through warping, drawing, weaving and finishing, the finished textile is cut and sewn into the detective’s iconic deerstalker hat. Meanwhile, the second video takes the newly created Sherlock Holmes tweed to Savile Row tailor Norton & Sons to create a three-piece suit for British rapper and 2015 London Collections: Men ambassador Tinie Tempah. Like the ROM’s Dior dress, the tweed fabric, deerstalker hat and three-piece suit were commissioned specifically by the museum and will enter the museum’s collection after the exhibition – however, the museum is also selling Sherlock Holmes Tweed merchandise to its visitors, adding a commercial element to the discussion surrounding these objects’ places in a museum collection. According to the press release, the entire project is ‘another milestone in the GLA and BFC supported project to position London as the home of menswear,’ but should these commissioned objects also be collected by the Museum of London to represent today’s British menswear industry?


 link video
https://www.youtube.com/watch?feature=player_embedded&x-yt-ts=1421782837&v=svOCbNBH6fc&x-yt-cl=84359240


https://www.youtube.com/watch?feature=player_embedded&x-yt-ts=1421782837&v=1sL2NIe2hP0&x-yt-cl=84359240#t=0




fonte: @edisonmariotti #edisonmariotti http://www.wornthrough.com/2015/01/19/you-should-be-watching-contemporary-collecting-in-museums/

Displaying Three Decades of LGBTQ Art Censored by Museums


In Irreverent: A Celebration of Censorship, opening next month at the Leslie Lohman Museum of Gay and Lesbian Art in New York, all of the art has previously been censored from major museums. The 17 artists represent the “controversial” perception of LGBTQ work over three decades, from Robert Mapplethorpe’s photographs in the 1980s to the expulsion of David Wonjarowicz’s “A Fire in My Belly” from the National Portrait Gallery in 2010.




Alma Lopez, “Our Lady” (1999), digital print, 17.5 x 14 in (courtesy of the artist, all images courtesy Leslie-Lohman Museum)





Zanele Muholi, excerpt from ‘Being’ series (2007), digital print, 48 x 39 in (courtesy the artist) (click to enlarge)

“On the one hand, some museums and gallery spaces are beginning to recognize the value of queer art for its own sake, and yet, major museums continue to censor queer artists from their walls,” curator Jennifer Tyburczy told Hyperallergic. Tyburczy is an assistant professor at the University of South Carolina and the author of the upcoming book Sex Museum: The Politics and Performance of Display from the University of Chicago Press. While she emphasized the high-profile nature of the 2010 Wojnarowicz removal after pressure from Republican elected officials, she said censorship “takes many forms, occurs all the time, and more often than not, happens behind the scenes.” Mostly, she explained, these stories of censorship “live in the memories of the artists whose work was deemed ‘controversial,’ ‘obscene,’ ‘offensive,’ or ‘pornographic’,” and could easily be lost.


Kent Monkman, “Duel After the Masquerade” (2007), acrylic on canvas, 20 x 30 in (collection of Jennifer Dattels)

The exhibition therefore will not just be about showing the art; the stories of censorship will be a major focus. They include the brutal vandalism of Andres Serrano’s A History of Sex photograph series in 2007, in which four masked and still anonymous men ravaged a Swedish gallery with axes and crowbars. There were also the intense protests against Alma López’s “Our Lady” digital print that transformed Our Lady of Guadalupe into a nearly nude, proudly standing woman draped in flowers displayed in a group exhibition at Santa Fe’s Museum of International Folk Art in 2001. The work sparked violent threats against the artist, museum, and curator for its supposed sacrilegious content. More recently there was the removal of Michelle Handelman’s “Dorian: a cinematic perfume” video, which reinterpreted the gay undertones of Oscar Wilde’s The Picture of Dorian Gray, from the Art House in Austin in 2011. Then in 2012 in Turkey, officials with the İzmir Art Center removed photographs including one by Barış Barlas of two men kissing in Mexico City, another by Seray Ak of two women in headscarves also kissing, and one by Damla Mersin of a woman confidently posing with an embrace of her sexuality in a headscarf.

“By reflecting on the ways in which queer sex has been displayed in museums, this exhibition exposes museums and art galleries as spaces where some of the most volatile and informative battles about sexual identity, sexual practices, and the history of sexuality have been and continue to be waged in the public sphere,” Tyburczy explained.

Below are some selections from Irreverent, each representing an individual moment of expulsion which is part of this greater narrative of censorship.


Jason Woodson, “This Kid – 20 Years On – A Tribute to David Wojnarowicz’ Untitled – This Kid” (2010), framed giclee print, 23.386 x 33.110 in (collection of Jason C. Woodson)


David Wojnarowicz, Still from “A Fire in My Belly (A work in progress)” (1986-87), color and b&w, silent, Super 8mm film on video, 20:55 min (courtesy of the Estate of David Wojnarowicz and PPOW)


Harmony Hammond, “A Queer Reader” (2010), archival inkjet print on Museo Silver rag paper, mounted on Di-Bond with UV laminate, 43 x 29 in (Courtesy Alexander Gray Associates, New York, © Harmony Hammond/Licensed by VAGA, New York, NY)


Corrine Bot, “Jack & Jill Underwear” (2009), digital photograph, 11.8 x 7.9 in (courtesy the artist)


Michelle Handelman, “Dorian: A Cinematic Perfume,” video still (2009), 63 min (courtesy the artist)


Michelle Handelman, “Dorian: A Cinematic Perfume,” video still (2009), 63 min (courtesy the artist)

Irreverent: A Celebration of Censorship will be on view at the Leslie Lohman Museum of Gay and Lesbian Art (26 Wooster Street, Soho, Manhattan) February 13 to April 19.

fonte: @edisonmariotti #edisonmariotti http://hyperallergic.com/174517/displaying-three-decades-of-lgbtq-art-censored-by-museums/

Visiting the Ancient Orient Museum, Istanbul



I was attending an international neurology conference in Istanbul, Turkey. I had two days left, and I thought to myself: “How about shooting some artifacts in the Istanbul Archaeological Museums?” I visit Istanbul every now and then and this museums’ neighborhood is one of my favorite spots. It’s on a hill in the same complex as the famous Topkapi Palace.

It is a group of three museums (Archaeological Museum, Ancient Orient Museum, and Tiled Kiosk Museum). The group lies on the European side of Istanbul at Sultanahmet/Fatih district. You should not miss the nearby Gulhane Park, Topkapi Palace, and Hagia Sofia; all are within the same area!

There is a single entrance for all of the museums. The opening hours are from 9 AM to 5 PM. Monday is the Museum’s holiday. The price of the ticket is 15 Turkish Lira (circa 6.50 USD; 5.50 EUR). You can visit the three museums with this ticket. Excellent deal!

My first station was the Ancient Orient Museum. The Museum’s logo says that it is founded in 1917 CE. It is a 1-floor building and the artifacts are categorized according to their origin/civilization.

Once you pass through the information desk, you will find some artifacts from the pre-Islamic Arabian Peninsula. Next, comes the ancient Egyptian section. And, then turn right; a small stela of Nabonidus, the last king of Babylon is erected and lions from the Processional Street of Babylon flank the way. Step by step, you will encounter artifacts from Anatolia, Urartu, and Mesopotamia.




Granite stela of Nabonidus, king of Babylon, 555-539 BCE. From Babylon, Mesopotamia. It narrates the religious activities of the king and the harassment of enemies to city of Babylon and other cities. In the background, the standing/striding lions of the Processional Street of Babylon appear. Glazed bricks from Babylon (modern-day Babel Governorate, Iraq). Reign of king Nebuchadnezzar II, 602-562 BCE.

Marvelous large basalt wall reliefs and stelae which date back to the Hittite Empire period from Urartu can be seen. Some masterpieces drew my attention:
A Code of Hamurabi tablet,
a statue of Shalmaneser III,
the oldest love poem tablet,
wall reliefs from the north-west palace at Nimrud,
Babylonian Processional Street wall reliefs (lion, sirrush, and auroch reliefs),
a stela of Nabonidus,
a stela of Sennacherib,
the Kadesh treaty tablet,
and a complete ancient Egyptian grave’s content.

Many tablets from several periods within Mesopotamia were displayed in large single case. A multitude of Neo-Assyrian artifacts (necklaces, amulets, bracelets, and fibulae) I found, too.

It is not that large of a museum, but the museum’s content is very impressive! I always enjoy visiting it! I shot many, many, and many pics. I was exhausted; 2 more museums to visit. There is small cafeteria within the courtyard of the museums; I sat there, and ordered some food and drink!
Arabian Votive Statues


Votive statues from the Arabic Peninsula. Pre-Islamic, 4th to 1st centuries BCE.
Ptah-Seker Statues


These are wooden statues of Ptah-Seker. Ptah was the protector god of artisans while Osiris was the god of the underworld. Seker (bird) was the god of the cemetery. When a person dies, a piece from his body is taken, embalmed and placed in a box, and then sealed with a wax. Thereafter, a Seker bird is put on the top. Ancient Egyptians believed that the deceased person becomes immortal by doing these steps.
Egyptian Grave


Grave finds from ancient Egypt. In this grave, we can see coffins, mummies, canopic jars, head part of a wooden coffin, baskets for beads, wooden chest for ushabties, and beadwork covers.
Statue of Lugal-Dalu


Statue of Lugal-dalu. The cnueform inscriptions on the right shoulder of this man say that this man is Lugal-dalu and is the king of Adab, and that the statue was devoted to Esar, the great god of that city.
Hittite Banquet


This basalt stela depicts a banquet scene. It is inscribed with hieroglyphic inscriptions. From Maras (modern-day Kahramanmaraş, southern Turkey). Late Hittite period, 9th century BCE.
Hittite Double Sphinx


A double sphinx statue. This was found at the entrance to the palace number 3 at Sam’al. In the background, a basalt wall relief of 4 musicians appear. On the left, a basalt statue of a lion can been seen partially. All are from Sam’al (modern-day Zincirli Hoyuk, southern Turkey). Late Hittite period, 8th century BCE.
Hittite Reliefs


Basalt wall reliefs from the western side of the citadel gate at Sam’al (modern-day Zincirli Höyük, southern Turkey). Late Hittite period, 9th century BCE.
Stela of Shamash-Res-Usur


Limestone stela of Shamash-res-usur (governor of Mari and Suhi). He is praying in front of the gods. From the palace museum at Babylon, modern day Babel Governorate, Iraq. 8th century BCE.
Stela of Sennacherib


This is the upper part of the limestone stela of Sennacherib, king of Assyria. The king is praying in front god symbols. From Kuyunjik (modern-day Ninawa Governorate, Iraq). 705-681 BCE.
Winged Apkallu


Alabaster bas-relief of a human-headed and winged Apkallu (sage). From the north-west palace of king Ashurnasirpal II at Nimrud (ancient Kalhu; Biblical Calah), northern Mesopotamia, Iraq. 883-859 BCE.
Shalmaneser III


Basalt statue of Shalmaneser III, king of Assyria from 858-824 BCE. The cuneiform inscriptions on the statue narrate a brief account of the king’s genealogical titles and characteristics. The inscriptions also say that the king’s military campaigns against the lands of Urartu, Syria, Namri, Que, and Tabal have come to an end. From Assur (modern-day Qala’at Sharqat, Iraq). In the background (and to the left of the statue) , reliefs of a sirrush and an auroch from the processional street of Babylon appear. At the left edge of the image, a head of a lamassu can be seen.
Stela of Naram-Sin


Part of the diorite stela of Naram-Sin, king of Akkad. 2254-2218 BCE. From Pir Huseyin (Diyarbakir), southern Turkey.
Clay Tablet & Envelope


Clay tablet and its cover (envelope); a legal document from Nippur, modern-day Nuffar, Al-Qadisiyyah Governorate, Iraq.
Tagged:ishtar_gateKadeshnabonidusQadeshShalmaneser_III

About the Author

Osama graduated from Baghdad University, College of Medicine and was the valedictorian student in internal medicine. He got membership diplomas of the Royal Colleges of Physicians of Ireland and Glasgow and then became Board-certified in neurology. Osama is a Fellow of the American College of Physicians and Fellow of the Royal College of Physicians and Surgeons of Glasgow. Currently, he is a consultant neurologist at Shorsh Military General Hospital. Osama published more than 40 articles in international peer-reviewed neurology journals and 5 self-assessment books for the membership diploma of the Royal Colleges of Physicians of the United Kingdom and Ireland. He is an associate editor, guest editor, and reviewer in several international peer-reviewed internal medicine and neurology journals. Osama is very interested in Mesopotamian history and always tries to take photos of archeological sites and artifacts in museums, both in Iraq and around the world. He is a contributor/team member of "Medical MasterClass," the online educational arm of the Royal College of Physicians of London, UK.


fonte: @edisonmariotti #edisonmariotti http://etc.ancient.eu/2015/01/19/visiting-ancient-orient-museum-istanbul/

Ticking away: The tower that stood the test of time


Ravaged by time and apathy, the historic clock tower of Peshawar, commonly referred to as Ghanta Ghar, no longer tells the hour.

The Cunningham clock tower was erected at the turn of the 20th Century smack in the middle of the walled city during the diamond jubilee celebrations of Queen Victoria and named after AFD Cunningham, who was the commissioner of Peshawar district at the time.

Today, the tower and its surroundings reek of fish for which dozens of roadside sellers have set up stalls illegally. Incidentally, the water that keeps the fish fresh is eroding the very foundation of the clock tower which has already been subject to neglect for more than a hundred years.
 
 
 
 
A artist’s impression on a postcard of Ghanta Ghar, circa 1910. PHOTO COURTESY: DR ALI JAN
PESHAWAR:


Unfortunately, the outside only mirrors the state of the tower from the inside. There are cobwebs around broken windows; the clock on the tower no longer works, the needle no longer ticks.

“AFD Cunningham should not be confused with [British politician] George Cunningham,” says conservationist Dr Ali Jan. “Many writers have inadvertently linked the clock tower to George Cunningham, who was born many decades later.”

Jan said Ghanta Ghar was the brainchild of James Strachan, an architect and engineer who served as the municipal engineer at the time and designed many buildings in British India, including in Peshawar and Karachi among others.

In 2003, Haroon Bilour, who was then serving as the town nazim, ordered repair work at the tower and had it whitewashed. Eventually, though, its upkeep was forgotten, and the tower turned into just another monument in one of the oldest cities of the region.

Jan said the tower’s brick colour has been painted over many times in different hues. This, he added, has tarnished its archeological value. “Our history is associated with it and efforts on war footing are required to preserve it,” stressed Jan.

Of food and war

It was Balmukand family which donated a large sum for the tower’s construction. The Balmukands migrated to India after Partition and today operate one of the country’s largest food companies by the name of Clock Tower, said Jan.

Perhaps the most important inscription on Ghanta Ghar is about the participation of Peshawar’s people in World War I. “From this city 200 men went to the great war in 1914 -1919, of these 7 gave up their lives,” reads the inscription etched on the tower.

Tug of war

Due to its historic importance, the building’s control should rest with the K-P Directorate of Archaeology and Museums which has the required expertise to preserve such sites. However, the directorate says it has no authority over Ghanta Ghar.

“We do not have any control over the building though it is a historic site and should be preserved by archeologists,” Archaeology and Museums Director Dr Abdul Samad told The Express Tribune. “Unfortunately, there are only six sites over which the directorate has authority. These do not include the clock tower.”

A veteran archeologist, Dr Samad said water is extremely detrimental to such an old building and can completely erode its structure. He added only archeological experts can restore the site now as only they have the expertise and instruments to do so. “Despite the struggle, we could not get control of all the historic sites from the municipal administration.”

The municipal administration presently yields control over the building. It has issued several notices and consequent deadlines to illegal vendors, but little heed has been paid to these warnings. “We have declared all those fish mandies illegal as no prior NOC was obtained from the city administration for setting up the fish market,” said municipal administrator Zafar Ali Shah, adding they have also allocated funds for the repair of the clock.

Shah, however, was unaware at the time he spoke to The Express Tribune how complicated the anti-encroachment drive would become after Friday, when an excavator crushed at least three people to death.

The incident occurred when shopkeepers protesting against the campaign began pelting the vehicle with stones. The driver of the municipal corporation’s excavator hastily stepped on the reverse-gear — unmindful of the fact that some people were standing behind the heavy-duty vehicle.

The tragedy has angered shopkeepers who are likely to step up their resistance in wake of the deaths. The eventual casualty of this tussle, though, will be the clock tower. Will the crumbling building be salvaged by a savior? Only time will tell.


Published in The Express Tribune, January 18th, 2015.

fonte: @edisonmariotti #edisonmariotti http://tribune.com.pk/story/823436/ticking-away-the-tower-that-stood-the-test-of-time/

Cool Bookish Places: National Palace Museum, Taipei

I kicked off my winter vacation this year with a short trip to Taiwan. I had never been, and I didn’t research it too much before going. I spent most of the trip eating delicious food and taking long walks through the gorgeous city of Taipei or the old streets of Jiu Fen.


national-palace-museum-taiwan 

One rainy afternoon, my travel companions and I headed over to the National Palace Museum, which is a beautiful structure in and of itself, nestled in the mountains. It’s a huge museum, and always crowded. Actually seeing every piece throughout its exhibits is time-consuming and challenging.

Among all the exhibits featuring various eras of ceramics, bronze, and jade sculpting, jewelry, weapons, and even collections of snuff bottles, there it was: Special Exhibition on the Art of Traditional Chinese Book Binding and Decoration (or, The Dao of Book Protection). This special book exhibit had serendipitously only been installed the day before I went to the museum, which is currently celebrating its 90th anniversary. It is, in a word, awesome. You get to see book binding techniques from before paper was even a thing, and books were composed on strips of bamboo or other woods, or on silk and rolled up. For a while, books were mounted and presented in the same ways paintings were, until paper became the standard medium.

It can be said that some modern book binding techniques developed from China, because it was when books were mounted on silk that leaving extra blank pages between the cover and text and protective covers and such, designed to protect the same text, emerged. Today we call them endpapers and dust jackets and other various terms, but they’ve existed since before paper was used to record text.

There are over 210,000 rare and antiquarian books sitting in the National Palace Museum, including an old copy of Lao Tzu’s Tao Te Ching. Most of the books in its collection came from the Qing Imperial Court (1644-1911; the museum was established in the ’20s), so there’s a great selection of both private publications and imperial editions, as well as copies of books which were written by Imperial order.

Unfortunately, I wasn’t able to get any pictures inside the museum itself, which is probably a good thing considering how crowded it gets. The book binding exhibit, however, was one of the easiest rooms for me to browse because people were focusing more of their time checking out the jade and ceramics. I was able to take my time and really look at all these old books I couldn’t read and see how well they’ve survived over time. China saw it all: bits of wood and bamboo strung together, long pieces of paper folded in like an accordion with writing mounted on each page, or rolled up like a scroll, and even sewing sheets of fabric (or later, paper) into a spine.

Another unfortunate note for me to report is this exhibition is only going to be at the National Palace Museum until June 28th, 2015. If you find yourself in Taipei sometime in the first half of this year, I can’t recommend the museum enough if you’re into such things. And not just because of the great look at the Chinese history of book binding- it’s a gorgeous museum which presents hundreds of years of history in an accessible way and in various languages. If you can’t make it but want to learn a little more about the history of book binding, you can read about it on the NPM’s website

fonte: @edisonmariotti #edisonmariotti http://bookriot.com/2015/01/21/cool-bookish-places-national-palace-museum-taipei/

Une visite au musée de la tequila

(CANCÚN) En voyage à Cancún, le meilleur endroit pour acheter une bouteille de tequila, si vous vous y connaissez en tequila, est un supermarché. Et le meilleur endroit pour trouver un supermarché dont la principale clientèle n'est pas les touristes est El Centro, le centre-ville de Cancún. On s'y rend de la zone hôtelière en prenant l'autobus 1.

Mais si vous n'y connaissez rien, la boutique La Europea, située sur le boulevard Kukulkan, dans la zone hôtelière, est votre destination.

On y trouve un excellent choix de bouteilles ainsi qu'une petite salle d'exposition un peu kitsch. L'endroit se fait appeler «Musée sensoriel de la tequila», mais il s'agit plutôt d'un centre d'interprétation à la manière d'un écomusée dont la visite prendra cinq bonnes minutes. Mais ce sont quelques minutes fort utiles. On y apprend les origines de la tequila, la façon dont elle est produite et la différence entre tequila blanche et tequila âgée. Vous pourrez goûter à l'agave et ainsi reconnaître le goût de la plante dans la boisson, ainsi que celui du caramel, de la vanille ou de la cannelle. Vous pourrez ensuite faire un achat éclairé.

Le petit centre d'exposition n'est pas toujours ouvert lorsqu'il devrait l'être, mais si vous visitez l'endroit à un moment où la guide de service n'y est pas, vous pourrez faire la visite sans frais, mais sans la dégustation. Pour les achats, les vendeurs de la boutique du rez-de-chaussée sont fort habitués d'informer les touristes néophytes.



On y apprend les origines de la tequila,... (Photo Digital/Thinkstock)
On y apprend les origines de la tequila, la façon dont elle est produite et la différence entre tequila blanche et tequila âgée.
Photo Digital/Thinkstock



fonte: @edisonmariotti #edisonmariotti - Stéphanie Bérubé La Presse
   http://www.lapresse.ca/voyage/destinations/amerique-latine/mexique/201501/20/01-4836921-une-visite-au-musee-de-la-tequila.php

Drinking About Museums

The Austin Museum Partnership is #drinkingaboutmuseum  tonight! 5:30pm at Scholz Garten (1607 San Jacinto Blvd). Hope to see you there!

This is home base (at least for the moment) for the #drinkingaboutmuseums community. If you're hosting an event, or looking to attend one, or are just generally interested, post here. We're all pretty nice folks.


fonte: @edisonmariotti #edisonmariotti

Museu de Arte Antiga exibe obra de Rosso Fiorentino



A pintura Baco, Vénus e Cupido, de Rosso Fiorentino (1494-1540), proveniente do Museu Nacional de História da Arte do Luxemburgo, vai ser exibida no Museu Nacional de Arte Antiga (MNAA), em Lisboa, a partir de 22 de Janeiro. 
 
 
 




Informa o MNAA que a obra do artista italiano do século XVI, que não está representado em nenhum museu nacional, vai ser exibida no âmbito do ciclo Obra Convidada e estará patente até 18 de Maio.



Na Florença da segunda década do século XVI, Rosso Fiorentino (1494-1540) foi um dos principais artistas de um movimento que explorou um estilo de pintura muito sofisticado na composição e na expressão, a que se convencionou chamar Maneirismo, assinala o MNAA.



O ciclo de exposições Obra Convidada apresenta obras de arte de grandes museus estrangeiros. Teve início em 2013 com uma obra de Lucas Cranach (1472-1553) vinda do The Metropolitan Museum of Art de Nova Iorque.


fonte: @edisonmariotti #edisonmariotti http://www.sabado.pt/cultura_gps/detalhe/museu_de_arte_antiga_exibe_obra_do_italiano_rosso_fiorentino.html

15 Consejos para el Trato a los Niños en los Museos · en CULTURA, DIDÁCTICA PARA NIÑOS, INSTITUCIONES, MUSEO, MUSEOGRAFÍA, OPINIÓN. ·




“Si deseas que tus hijos sean inteligentes,
cuéntales cuentos de hadas”.
Albert Einstein

No se puede tratar a todo el mundo de igual manera, la edad es uno de los elementos diferenciadores importantes que hay que tener en cuenta en el trato a las personas dentro de los museos. Los más pequeños son muy importantes, que se lleven una experiencia grata del museo a casa es algo que no tiene precio. Los museos pequeños deben diferenciarse por el trato que ofrecen a sus visitantes; serán más pequeños en recurso y objetos de la colección, pero deben ser muy grandes en su relación con las personas. Podemos pensar que si estamos ofreciendo un trato exquisito a todo el que tiene a bien cruzar la puerta de nuestro museo, lo estaremos haciendo bien, pero eso no es del todo cierto, podemos estar cayendo en un grave error. Los niños y jóvenes son un sector del público visitante muy específico y especial, tanto o más que el perfil que repasábamos ayer. Los niños son numerosos, son previsibles, en su vida escolar se agrupan por niveles y edades, por lo que establecer una buena didáctica del objeto es muy importante para ellos. Veamos a continuación lo que nosotros creemos que el museo debe hacer para tratar a los más pequeños de una manera adecuada…



Retrato de niño de Jaqueline Roberts

1. Los mensajes deben ser sencillos y claros. Debemos definir lo que queremos que aprendan en la visita. No hay que tenerles miedo aunque alguno sea potencialmente temible; los niños son como los perros en un sentido, huelen el miedo. Si lo hacemos bien vamos a conseguir una nueva categoría de público fiel.

2. Preparar el museo para los niños significa que deben poder tocar cosas, el ya sabido “prohibido no tocar” pero con orden y concierto. Si no queremos que pongan las manitas en las vitrinas, deberemos tenerlo en cuenta. Nosotros opinamos que no hay nada peor que reñir a un niño a la vista de los demás. Si no pueden tocar cosas, el museo los dejará fríos.

3. Si lo de las vitrinas es imposible de evitar, deberemos adecuar espacios para ellos; si esto tampoco es posible, debemos crear kits móviles susceptibles de ser desplazados por las salas.

4. Los niños se distraen con facilidad y su visión y comprensión no lo abarca todo. Por ello, debemos seleccionar diez objetos, si se trata de niños y de quince si se trata de adolescentes. Proponed puntos trampa para “cazarlos” en un trivial divertido, o la búsqueda del tesoro, que al final es el punto de encuentro con el conocimiento.

5. Hay que elegir con sumo cuidado los objetos que les vamos a mostrar, sin eliminar los que pueden ser más conocidos o emblemáticos (una momia, por poner un ejemplo, pero evitando los frascos de formol con cosas dentro). Buscad cosas curiosas y rodeadlas de una narración que les anime a reflexionar y a despertar su curiosidad, a la medida de su edad. Nosotros fuimos niños, hay que apoyarse en la memoria también.



Imagen: Archivo EVE

6. Si en el museo se muestran textos en paneles o cartelitos – nuestros grandes enemigos -, hay que dirigirse a los niños con mensajes a su medida, que siempre son diferentes que los de adultos. No hay que descartar el humor, no temiendo intercalar mensajes de estética juvenil (graffiti) y desenfadada (cómic). Existen muchas opciones, solo hay que dar con la adecuada en cada caso.

7. Los niños tienen una naturaleza curiosa; por ello siempre funciona jugar con la información, esconder textos, hacer agujeros por donde mirar algo. Todo puede convertiste en un tesoro que hay que descubrir.

8. Hay que mostrar la información usando el menor número de palabras posible, lo mismo que hacemos en publicidad gráfica. Nunca emplear más de cincuenta palabras, unos doscientos cincuenta espacios. No uséis palabras técnicas, el museo no es un colegio de lingüística.

9. Es muy importante usar signos de interrogación en los titulares de los textos: hacer preguntas y dejarlas en el aire. Se trata de que busquen ellos mismos las soluciones.

10. Una imagen vale más que mil palabras, ¿os suena?



Imagen: Kenziepoo

11. No es suficiente mirar para ver. Debemos hacer que usen todos sus sentidos demás de la vista: el tacto, el oído, el olfato, incluso el gusto si se justifica. No entendemos porque la mayoría de los museos creen que solo somos ojos. ¿A qué huele un cuadro de un bodegón con flores?

12. El museo debe ser juegos, zona lúdica, museo-ludoteca: cuestionarios, enigmas, los siete errores, verdadero o falso, pregunta o acción, se busca a Wally… ¿Porqué los museos locales no organizan fiestas de cumpleaños para los niños?

13. La señalización debe estar adaptada a la comprensión de la mente de un niño. Los colores son muy importantes. Seguir líneas de colores es lo ideal.

14. Los muebles no deben superar los 65 cm. de altura. ¡Cuidado con los cantos y esquinas de los muebles¡ Los enchufes siempre sellados.

15. Las visitas comentadas con los peques sobre los objetos de la exposición, éstos no deben superar los 30 cm. de altura. Hay que organizar la bienvenida y prever que se vayan con algo en las manos, un regalín, un detalle pero, sobre todo, que se lleven un buen recuerdo. Si estas premisas se cumplen ¡querrán volver!



Cuadros pixelados de Marco Sodano para Daily Mail

Son recomendaciones para un perfil homogéneo de niño, que se pueden derivar a otras nociones si son niños con alguna disfunción ya sea corporal o mental, o ambas. Hay que tener en cuenta que los niños normalmente o casi nunca van voluntariamente a un museo, son un público cautivo, los educadores tienen aquí un papel fundamental. Los profesores deben promover la visita al museo en complicidad con los responsables de las entidades museísticas. Los niños son muy importantes para los museos, lo mismo que los museos son fundamentales para la educación de los niños.