domingo, 21 de junho de 2015

Casa memorială Vasile Pogor -- Muzeul îsi are sediul în Casa Vasile Pogor, construită pe la 1850 de către vornicul Vasile Pogor și soția sa Zoe. -- The building has a long history linked to the cultural life of Iasi, the city's meeting place for intellectuals, headquarters of Junimea Literary Society (founded in 1863) and Conversations literary magazine (founded in 1867).

Imobilul are un lung istoric legat de viața culturală a Iașiului, fiind loc de întâlnire pentru intelectualitatea orașului, sediu al Societății literare Junimea (fondată în 1863) și al revistei Convorbiri literare (fondată în 1867). Cumpărată în 1901 de principesa Maria Moruzzi, care modifică intrarea principală și schimbă fațadele, așezând deasupra balcoanelor blazonul familiei, casa va fi moștenită de fiul ei, Gheorghe Brătianu care în 1938, când pleacă la București, o închiriază rezidenței regale din Iași. 


A fost restaurată în 1968, în vederea amenajării muzeului, și reparată după cutremurul din 1977. Muzeul prezintă dezvoltarea literaturii române, cu precădere de pe teritoriul Moldovei, începând cu anul 1800 și până în zilele noastre. 

Clădirea are nouă încăperi, la parter și etaj, plus două holuri, în care sunt prezentate principalele etape și curente literare din ultimele două secole: perioada scriitorilor Costache Conachi, Vasile Alecsandri, Alexandru Donici, Salonul Daciei Literare, scriitorii pașoptiști si unioniști, momentul fondării Societății Junimea și scriitorii junimiști (Titu Maiorescu, Vasile Pogor, P.P. Carp, Mihai Eminescu, Ion Creangă, I.L. Caragiale, Ion Slavici și alții), literatura de la Contemporanul și Viața Românească, perioada Garabet Ibrăileanu, sala Masa Umbrelor, sala scriitorilor Mihail Sadoveanu, Cezar Petrescu, Alexei Mateevici, Calistrat Hogaș, perioada interbelică (George Bacovia, Magda Isanos, Eusebiu Camilar), Nicolae Labiș. 

La parterul casei se află biblioteca muzeului. Sunt expuse obiecte cu valoare memorială, tapiserii, tablouri din secolul al XIX-lea, manuscrise (Mihail Sadoveanu, Cezar Petrescu, George Topârceanu, Otilia Cazimir, Mihai Codreanu), fotografii originale, ediții prime ale operelor scriitorilor pe parcursul a 150 de ani.


fonte: @edisonmariotti #edisonmariotti
colaboração:
Gabriela Mangirov
www.monumenteiasi.ro/pagina.php?v=casa_pogor



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The building has a long history linked to the cultural life of Iasi, the city's meeting place for intellectuals, headquarters of Junimea Literary Society (founded in 1863) and Conversations literary magazine (founded in 1867).Purchased in 1901 by Princess Maria Moruzzi, amending and changing the main entrance facades, balconies placing family crest above the house will be inherited by her son, George Brătianu that in 1938, when departing from Bucharest, Iasi rents royal residence.

It was restored in 1968, in order to set up the museum, and repaired after the earthquake in 1977. The museum presents the development of Romanian literature, especially from Moldova since 1800 and until today.
The building has nine rooms, downstairs and upstairs, plus two halls, which are the main stages and literary trends of the last two centuries: writers Costache Conachi period, Alecsandri, Alexandru Donici, Dacia Literary Salon writers forty-eighters and unionists, the moment of foundation Junimea Society and writers Junimists (Maiorescu, Vasile Pogor, Carp, Mihai Eminescu, Ion Creangă, ILCaragiale Ion Slavici and others), from contemporary literature and Romanian life, period garabet ibrăileanu hall Mass Shadow writers room Sadoveanu Cezar Petrescu, Alexei Mateevici, Calistrat Hogaş interwar period (George Bacovia, Magda Isanos, Eusebius Camilar), Nicolae Labis.

On the ground floor is the museum's library. The exhibits items of memorial, tapestries, paintings from the nineteenth century manuscripts (Sadoveanu, Cezar Petrescu, George Topârceanu, Otilia Casimir, Mihai Codreanu), original photographs, first editions of the works of writers over 150 years.

reo-tek’s range of products developed with the support of TÜBİTAK (The Scientific and Technological Research Council of Turkey) include interactive applications that appeal to education, cultural heritage, museums, and exhibition

Developed only for Eskişehir ETİ Archaeology Museum, floating digital images of the relics in the museum are recreated and shown in a display case. Visitors are able to observe the artifacts from all angles with this system instead of seeing it from a single angle such as in a conventional system.

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3D Touchscreen enables the users to examine the relatively small parts in the museum and obtain information about them. Chosen relics are transferred into digital environments via 3D scanning technologies. Visitors are able to observe the relics on a screen, by rotating them as they want. Location of the examined relic in the museum is also given as information.

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A King’s Tomb located in Eskişehir’s Alpu town has been interpreted with 3D technologies. Visitors experience the journey of an archaeologist who discovers the tomb and their adventure begins at the entrance of the tumulus. As visitors venture forth in their discovery, they are debriefed about the architectural structure of the tomb and relics found during excavation.

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A 1.5x1 meters dimensioned giant tome that visitors can interact without touching, which aims to give information in an entertaining way. As the history of the museum and excavations are told, pictures in pages come alive and informations are given with the company of animations and videos.
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reo-tek is a full service design and production company and developer of interactive technologies within METU (Middle East Technical University) Technopolis, Ankara, Turkey. reo-tek’s range of products developed with the support of TÜBİTAK (The Scientific and Technological Research Council of Turkey) include interactive applications that appeal to education, cultural heritage, museums, and exhibition.

reo-tek's interdisciplinary structure with its industrial designers, interior designers, architects, computer and electronic engineers, and graphic artists bring diverse expertise and creativity to the projects.

Depending on the projects's scope and requirements, reo-tek collaborates with a wide range of business partners such as other firms, institutions, and organizations to expand and specialize its products and services.

Refik Toksöz – Co-founder & President

Mr. Toksöz has studied architecture in both Karadeniz Technical University and in Technische Universität Berlin, and Political Sciences in Ankara University. He has worked as an architecture, photographer, graphic designer, psychological consultant and instructor for children with behavioral problems, programmer, computer instructor, a computer animation artist, and as an instructor in Ankara University Faculty of Communication, Department of Radio, Television and Film. He has been working as an instructor in METU, lecturing courses on 3D modelling, animation, and multimedia design. 

Emrecan Çubukçu – Co-founder, Research and Development (R&D) Manager

During his doctorate in Hacettepe University in 1995-2004, Mr. Çubukçu has developed the data analysis, 3D visualization and controlling softwares for atomic force microscobe, a powerful nanotechnologic device. He has been working as a part time instructor in METU Industrial Design Department. He is in charge of R&D, software development, design, and technical art directory of reo-tek.

Kıvanç Çubukçu – Software Development Manager

After graduating from Başkent University Computer Engineering Department and earning his Master’s Degree on Image Processing, Mr. Çubukçu has began working in reo-tek while giving software courses in Başkent University. As the manager of the software development department, he has been working as a project manager, developer of core codes and has been working on the hardware integration of products.

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fonte: @edisonmariotti #edisonmariotti http://www.reo-tek.com/

MUSEUM AND GALLERIES OF LJUBLJANA - Slovenia

The Institute’s mission is to record, collect, document, valuate, preserve, interpret, study and present tangible and intangible heritage relating to the history of the City of Ljubljana and its wider surroundings from the Prehistoric Period until the present day, to conduct pedagogic, andragogic and promotional activities concerning the Institute’s operations, and related vocational training.




By holding exhibitions and compiling collections of museum objects, of archive and library materials and of other documentary materials, modern and contemporary works of art as well as contemporary art practices, the Institute provides access to public cultural goods and engages in international exchange.

The Museum and Galleries of Ljubljana will be a creative and modern institution with close links to its environment. By pursuing an internationally comparable programme, it will pave the way for new concepts of museology and gallery work.

By offering a diverse and accessible programme oriented to quality, we will outline creative approaches to upgrading existing professional standards in this field.

MGML will become a place of synergy and learning, a platform offering new insights into our past, present and future.

Our audiences and collaborators both locally and abroad will contribute to creating a museum and a gallery of the future.

The institution Museum and Galleries of Ljubljana was established in 2009 and comprises the City Museum of Ljubljana, the Jakopič Gallery, the Vžigalica Gallery, the City Art Gallery of Ljubljana, the Bežigrad Gallery 1, the Bežigrad Gallery 2, Galerija 001 and the Tobacco Museum situated in the Tobačna 001 Cultural Centre as well as Plečnik House in Trnovo.

TIMELINE

1935
The Municipality of Ljubljana purchased Auersperg Palace to house the newly established City Museum of Ljubljana; its first collection was put on in one part of the building in 1937. In the following decades, the Museum shared the building with several other institutions.

1954
The City Art Gallery of Ljubljana was set up.

1976
The Bežigrad Gallery with premises at 31 Dunajska street was established. Since 1996, it has been operating as part of the City Art Gallery of Ljubljana.

2002
In 2002, the Bežigrad Gallery 1 saw the addition of new gallery premises – the Bežigrad Gallery 2 at 3 Vodovodna street.

2000 to 2004
In this period, Auersperg Palace which is home to the City Museum of Ljubljana was thoroughly renovated.

2009
A new institution was created, thereby bringing the City Museum of Ljubljana and the City Art Gallery of Ljubljana together, including all related locations.

2010
The Tobačna 001 Cultural Centre, situated in the Tobačna City and incorporating both museal and gallery premises, joined the institution.

2011
In March, Galerija 001 (with an exhibition of the Belgian artist Jan Fabre) and the Tobacco Museum were officially opened. They are both located in the Tobačna 001 Cultural Centre.


fonye: @edisonmariotti #edisonmariotti http://www.mgml.si/

When the Museo Nacional Centro de Arte Reina Sofía opened its doors in 1990, it stood as a modern, contemporary Spanish museum on an international scale. Nevertheless, its building has gone through many challenges in order to achieve this goal.

King Felipe II first founded San Carlos Hospital – current headquarters for the museum– in the sixteenth century. It was here that all of the hospitals dispersed throughout the Court were centralized. In the eighteenth century, Carlos III decided to found another hospital, as these facilities did not meet the city’s needs. The present building is the work of architects José de Hermosilla and Francisco Sabatini, who was responsible for a large part of its construction.




In 1788, the death of Carlos III brought the building’s construction to a halt. Although a mere third of Sabatini’s project had been completed, the hospital was set up and began operations as originally planned.

From that time on, several modifications and additions were made until the hospital was shut down in 1965. Its functions were transferred to the Madrid Province Health Service. In spite of many rumors of demolition, the building’s survival was guaranteed in 1977 when it was declared a national monument by royal decree, due to its historic and artistic value.

In 1980, restoration began under the direction of Antonio Fernández Alba, and in April 1986 the Reina Sofia Art Center opened. Its ground and first floors were used as temporary exhibition galleries. Towards the end of 1988, architects José Luis Iñiguez de Onzoño and Antonio Vázquez de Castro made final modifications, of which the three steel and glass elevator towers – designed in collaboration with British architect Ian Ritchie – merit special attention.

The Museo Reina Sofia, an autonomous organization depending on the Spanish Ministry of Culture, was created by Royal Decree 535/88 of May 1988. With its headquarters in San Carlos Hospital, the Collection was made up of works conserved at the time by the Spanish Museum of Contemporary Art. On 10 September 1992, their Majesties King Juan Carlos and Queen Sofia inaugurated the Permanent Collection of the Museo Nacional Centro de Arte Reina Sofía, which until then had only held temporary exhibitions. Now a bona fide museum, its goals – as set forth in the aforementioned decree – were to conserve, expand and exhibit its collections; to promote the general public’s knowledge of and access to contemporary art in its various manifestations; to hold exhibitions at the international level, and to offer training, educational and assessment activities related to its holdings.


The Nouvel Building

Throughout all of these years, the Museo Nacional Centro de Arte Reina Sofia has been increasing its collections, temporary exhibits, audiovisual and educational activities, services and number of visitors, what led those in charge of the institution to undertake studies on the possibility of increasing surface space, which brought about in 2001 the construction of the new building by Jean Nouvel, opened in September of 2005. In this way the Museum responded not only to its proposed needs, but also to a clear call to transform the neighborhood’s surrounding environment. By creating a public square – as set forth in the building code of the new buildings and the southwest facade of the current Museum – a space within the city and for the city was created.

The Museum has increased more than 60% of the old building’s surface area (51,297 square meters), now reaching 84,048 square meters. Thus, the Museo Nacional Centro de Arte Reina Sofia now has a privileged exhibition space at its disposal.



Pamphlet of the opening of the Centro de Arte Reina Sofía, 1986 (Spanish text)

link: http://issuu.com/museoreinasofia/docs/inauguracion_museo_1?e=0







fonte: @edisonmariotti #edisonmariotti http://www.museoreinasofia.es/en

O Victoria & Albert é um dos museus que festejam os 200 anos do nascimento de um dos maiores nomes da fotografia. A sua primeira exposição foi há 150 anos.

O aniversário de Julia Margaret Cameron só podia ser uma festa para a fotografia





JULIA MARGARET CAMERON/VICTORIA & ALBERT MUSEUM




O aniversário já passou (a 11 de Junho), mas as exposições ainda não inauguraram. Vários museus do Reino Unido, incluindo o que está instalado na casa onde ela viveu na Ilha de Wight (Dimbola Lodge), vão celebrar a vida, e sobretudo a obra, de Julia Margaret Cameron, um dos nomes mais importantes da história da fotografia, “cronista” singular da Inglaterra vitoriana, com todos os seus imaginários fantásticos.

Recebeu a sua primeira câmara fotográfica quando já tinha quase 50 anos – a filha Julia e o genro, Charles Norman, queriam que ela arranjasse um hobby para se distrair da ausência do marido, sempre ocupado com as plantações de café que a família tinha no Ceilão (actual Sri Lanka), e ofereceram-lhe uma no Natal. Na casa da ilha, onde recebia os amigos, muitos deles figuras de relevo nas artes e nas ciências, como o naturalista Charles Darwin ou o poeta Alfred Tennyson, Cameron (1815-1879) estava habituada a fazer de conta – vestia os seus modelos e rodeava-os de adereços para que recriassem personagens bíblicas, históricas ou alegóricas. É por isso que, nas suas fotografias, é comum ver crianças transformadas em anjos, jovens mulheres como Virgens ou deusas, e homens convertidos em cavaleiros arturianos.
Ler as cartas de Julia Margaret Cameron permite ao visitante perceber o trabalho desta mulher sempre preocupada com os aspectos técnicos e artísticos, tornando-se uma das mais originais retratistas da história da fotografia JULIA MARGARET CAMERON/VICTORIA & ALBERT MUSEUM

Numa das principais exposições já agendadas – a do Victoria & Albert (V&A) – estarão mais de 100 fotografias da extensa colecção que o museu londrino tem no acervo, muitas delas doadas pela própria Cameron quando o V&A ainda se chamava South Kensington Museum. Nelas se reconhecem muitos dos elementos que distinguem o seu trabalho, em parte mal recebido pela crítica do seu tempo e hoje amplamente elogiado. Estão lá as imagens intencionalmente desfocadas, com riscos e manchas deixadas pelos morosos processos que no século XIX o acto de fotografar implicava. As mesmas imagens que mostram a sua relação muito directa à pintura - sobretudo à dos pré-rafaelitas e ao seu universo de fábula e melancolia - e uma convicção forte de que a fotografia era, ela mesma, uma forma de arte que não devia ser menorizada perante as restantes.

A retrospectiva Julia Margaret Cameron, que é inaugurada no V&A a 28 de Novembro, celebrando também os 150 anos da sua primeira exposição (e única em vida), vai organizar-se à volta de quatro cartas que enviou ao fundador e então director deste museu de Londres, Henry Cole, um amigo. Lê-las permite ao visitante perceber como evoluiu o trabalho desta mulher que nunca deixou de se preocupar com os aspectos técnicos e artísticos, procurando aperfeiçoar-se cada vez mais, investindo em composições cuidadas e tornando-se uma das mais originais retratistas da história da fotografia.

Escrevendo ao astrónomo John Herschel em Dezembro de 1864, o primeiro a falar-lhe de fotografia, muito antes de Cameron receber a sua primeira câmara, reconhece que tudo o que deseja é que o seu trabalho seja visto como arte, “combinando o real e o ideal e não sacrificando nada da verdade mesmo que tão dedicado quanto possível à poesia e à beleza”. Se os seus retratos são arte ou não, pouco importa, é discussão estéril. O que interessa é que ficaram e que merecem sempre um regresso.


fonte: @edisonmariotti #edisonmariotti
http://www.publico.pt/culturaipsilon/noticia/o-aniversario-de-julia-margaret-cameron-so-podia-ser-uma-festa-para-a-fotografia-1699051?frm=ult