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sábado, 25 de julho de 2015

Bénin : l’accès au musée de Ouidah dématérialisé avec l’application Wakpon

La Fondation Zinsou pour l’art contemporain africain fête cette année ses 10 ans d’existence. A cette occasion, elle a lancé l’application "Wakpon, le musée fait le mur" qui donne accès aux œuvres du musée de Ouidah à tous, de façon virtuelle, depuis un smartphone.


Des visiteurs utilisent l’application Wakpon en visant
les "images magiques" (Crédit photo : Joël Koukoui)

A Cotonou,

"Wakpon, le musée fait le mur", lancée par la Fondation Zinsou à l’occasion des 10 ans de sa création et de la présentation d’une nouvelle exposition dans la capitale économique béninoise, Cotonou, cette application symbolise la volonté de cette fondation de « valoriser et de rendre la culture à tous », explique sa présidente, Marie-Cécile Zinsou, la fille du Premier ministre du Bénin.

« Wakpon » signifie viens voir » en langue Fon, la première des multiples langues locales parlées au Bénin. Financé entièrement par un fonds d’investissement parisien, cette application disponible gratuitement sur Android et IOS est le fruit d’une rencontre entre l’entrepreneur franco-béninois Pierrick Chabi, spécialiste des nouvelles technologies, qui s’intéresse notamment au « processus de réalité augmentée » et la présidente de la Fondation Zinsou.

La technologie de « réalité augmentée »

"Wakpon, le musée fait le mur" s’utilise en visant des « images magiques » disponible sur le site www.wakpon.org avec un smartphone sur lequel l’application doit être installée préalablement. Il s’agit de les télécharger et de les imprimer sur un format A4. A chaque image correspond plusieurs œuvres d’un artiste exposé dans le musée de Ouidah. En tout, 40 œuvres d’art de près de 10 artistes africains peuvent être visionnées.

Une fois l’application installée, l’utilisation d’internet, d’un prix élevée au Bénin, n’est pas nécessaire pour voir apparaître les œuvres sur son smartphone. Ce qui permet une possible diffusion des œuvres d’art et des artistes béninois partout dans le pays, même dans les zones les plus reculées où la connexion n’est pas forcément accessible ou de très faible intensité. L’utilisation de l’application au musée de Ouidah ou encore dans les écoles, a été autorisée par les artistes concernés qui ont cédé leurs droits.

C’est la première fois que cette technologie de « réalité augmentée » est utilisée pour dématérialiser un musée. Des musées parisiens et new-yorkais auraient déjà contacté l’inventeur de l’application, Pierrick Chabi, afin de développer leur propre application.

fonte: @edisonmariotti #edisonmariotti
http://www.afrik.com/benin-la-fondation-zinsou-dematerialise-l-acces-a-son-musee-avec-l-application-wakpon

Coca-Cola põe a Torre de Belém numa lata e dá boleia para os museus de Lisboa

Protocolo entre o fabricante de bebidas e a Direcção Geral do Património Cultural garante transporte gratuito para os visitantes dos museus e monumentos da capital durante o Verão.







Quantas imagens de Portugal cabem numa lata de Coca-Cola? 
Neste Verão, há espaço para três. Depois das latas com desenhos do centro histórico do Porto e da Floresta Laurissilva da Madeira, a marca de bebidas decidiu criar outra com uma imagem da Torre de Belém, numa parceria com a Direcção Geral do Património Cultural (DGPC). Em troca, esta pediu um autocarro gratuito para ligar museus e monumentos de Lisboa durante o Verão e dez mil euros.

O desenho escolhido para a lata é uma "alusão livre, evocativa e divertida" à Torre de Belém, um dos monumentos mais icónicos da capital, construído há 500 anos para defender o estuário do Tejo. O desenho inclui elementos relacionados com esta obra do tempo das Descobertas, como uma caravela. A Torre está classificada como Património Mundial pela UNESCO desde 1983.

As latas, mais altas e mais finas do que o modelo normal, foram produzidas na fábrica da empresa em Palmela e já estão disponíveis nos cafés, restaurantes e hotéis. Juntam-se às latas que evocam o centro histórico do Porto e a Floresta Laurissilva da Madeira, que integram a colecção "Património Revisitado" de 2015. Foram colocadas no mercado português 50 milhões de latas, com validade de 18 meses.

Lançada pela Coca-Cola em 2012, a colecção representa um hino à "portugalidade", afirma o director do departamento de Relações Externas da Coca-Cola Ibéria para Portugal, Tiago Lima. No primeiro ano foram retratados outros três monumentos portugueses: o Palácio da Pena, em Sintra, o Convento de Cristo, em Tomar e as Gravuras Rupestres em Foz Côa. "A primeira reacção dos consumidores portugueses foi muito boa e por isso estamos a repetir", explica Tiago Lima. "A marca quer estar junto dos consumidores portugueses através do seu património histórico", acrescenta.

A Coca-Cola lançou o desafio à DGPC e esta não hesitou. "Aceitámos e pedimos uma contrapartida, que é a existência de um minibus para fazer o percurso entre os vários museus e monumentos da cidade de Lisboa", diz o subdirector-geral do Património Cultural, Samuel Rego. Além disso, a empresa irá apoiar a DGPC através de mecenato, no valor de dez mil euros que serão "investidos nos equipamentos" geridos por esta entidade, adianta.

O minibus, com 24 lugares, estará a funcionar de terça-feira a domingo a partir de 1 de Agosto e até ao final de Setembro, com acesso gratuito. Uma vez que o protocolo entre as duas entidades, assinado nesta sexta-feira, tem a duração de dois anos, o autocarro voltará a circular no próximo ano entre Maio e Setembro.

Terá dois percursos distintos: de terça a quinta-feira ligará os espaços culturais que integram o bilhete "Cais da História", localizados na zona de Belém: Mosteiro dos Jerónimos, Torre de Belém, Museu Nacional de Arqueologia, Museu Nacional de Etnologia e Museu dos Coches (antigo e novo). De sexta-feira a domingo, o transporte fará o percurso do bilhete "Lisboa", ligando o Panteão Nacional, Museu Nacional do Azulejo, Museu Nacional do Traje, Museu Nacional do Teatro e da Dança, Museu da Música, Museu Nacional de Arte Contemporânea-Museu do Chiado, Museu Nacional de Arte Antiga e Casa-Museu Anastácio Gonçalves. Segundo Tiago Lima, os pormenores sobre horários e percursos serão divulgados em breve.

fonte: @edisonmariotti #edisonmariotti
http://www.publico.pt/local/noticia/cocacola-poe-a-torre-de-belem-numa-lata-e-da-boleia-para-os-museus-de-lisboa-1703073

The Museum of Copenhagen wishes to kindle a desire for knowledge of the city, its past, present and future, by stimulating public curiosity and delight in discussing matters concerning the capital.

The Museum aims hereby to present Copenhagen as a modern metropolis with a living, dynamic, relationship to its cultural heritage.



The initial roots of what was to become the Museum of Copenhagen consisted of works of art, models, interiors and photographs related to the history of Copenhagen that were gathered at the onset of the 20th century and stored in the capital's new City Hall. These collections have been continually expanded upon throughout the 21st century. The Museum of Copenhagen's areas of responsibility and assignments in relation to the city of Copenhagen have also grown in size and depth during this period.

The Museum of Copenhagen was housed in the attic of Copenhagen's City Hall up until the 1950s when it was transferred to the former premises of the Royal Shooting Society on Vesterbro.

Purpose, assignments and responsibility

The Museum of Copenhagen aims to be a well-known and respected authority on the history of the capital and a relevant and accessible platform for the numerous citizen voices within the capital, e.g. when discussing the present quality of life within the city or the choices that must be made for the future.

Traditionally speaking, The Museum of Copenhagen's collections, knowledge and communication have been focused upon the city's topographic development, i.e. administration and supplies, citizen welfare, health and opportunities to participate in public decision-making. However, documentation of the loners of Copenhagen has always been part of the Museum's collections, i.e. of Søren Kierkegaard, the world's most famous Copenhagener, or of the Pastime Maid and other original street characters.

In principle, the museum covers all periods of the history of Copenhagen and works together with the city authorities in relation to the cultural environment and permanent cultural heritage of the city. The museum also acts as the local archaeological authority with responsibility for archaeological matters in Copenhagen and Frederiksberg. Hence, it contributes to the future development of the city, ensuring that development occurs whilst bearing cultural insight and public memories in mind, particularly in relation to locations that are historically important and will continue to mark the city environment by providing the framework for contemporary and future everyday life.
Culture for All

The museum aims to provide the citizen's of Copenhagen with access to, and a sense of ownership towards, the cultural heritage of the capital. Through a number of new communication initiatives, situated both outdoors around the city and within the museum building, the museum participates in contemporary discourse on the ever changing nature of the city and its inherent plurality while contributing to the communication thereof. While emphasising upon the citizens' own voices as part of the narrative on Copenhagen, groups and individuals, formerly underrepresented in the cultural life of the city are now being included within the city's communities. The museum employs traditional methods such as exhibitions, guided tours, teaching and walking tours of the city along with the newest electronic technologies in communicating with the citizens of Copenhagen and other interested parties.
Conditions of ownership and subsidy

The Museum of Copenhagen is owned and run by Copenhagen's City Council. The museum's board of management consists of the City Council's Culture and Leisure Committee. The Mayor of Culture and Leisure is the chairman of the board.

At present (2014-2017) the museum board consists of the following:
Borgmester Carl Christian Ebbesen (O) (chairman)
Simon Strange (A)
Yildiz Akdogan (A)
Rune Dybvad (A)
Rikke Lauritsen (Ø)
Allan Ahmad (Ø)
Andreas Pourkamali (B)
Michael Gatten (V)
Jens Kristian Lütken (V)
Peter Thiele (F)
Lillian Parker Kaule (I)


While Copenhagen City Council is the museum's main subsidy provider, it also receives state-subsidy from The Heritage Agency of Denmark on an annual basis.


fonte: @edisonmariotti #edisonmariotti http://www.copenhagen.dk/en/about

The Deutsches Museum with its branch museums is an outstanding place for communicating scientific and technical knowledge and for a constructive dialogue between science and society.

We present science and technology as something to be seen and experienced and illustrate its cultural significance by exhibiting unique masterpieces. We inspire people to play an active role in shaping the future.

Established in 1903, it is among the world's oldest museums of science and technology and, with total exhibition space of 66,000 square m², one of the largest. Its unique collection of original exhibits makes Deutsches Museum a leading international venue for celebrating science and technology as a cultural endeavour. As a major German research museum of national significance, it is supported by the state of Bavaria, the federal government and the German states and is a member of the Leibniz Association.


The Deutsches Museum with its branch museums is an outstanding place for communicating scientific and technical knowledge and for a constructive dialogue between science and society. Established in 1903, it is among the world's oldest museums of science and technology and, with total exhibition space of 66,000 square m², one of the largest. Its unique collection of original exhibits makes Deutsches Museum a leading international venue for celebrating science and technology as a cultural endeavour. As a major German research museum of national significance, it is supported by the state of Bavaria, the federal government and the German states and is a member of the Leibniz Association.

The Deutsches Museum fulfils a national mission for collecting and preserving historically significant objects from the world of science and technology and conducts research in the history of those fields and the related social transformations. With its exhibitions and accompanying events and activities, it bridges the gap between research and education and thus helps to foster innovation in our society. 

The entertaining communication of basic ideas of science and technology is geared to the target groups and provides an overview of historical developments while offering insights into the latest research. It allows people of all ages to gain an understanding of the research process while presenting scientific and technological topics and their impact on our lives in an accessible way. The Deutsches Museum addresses controversial issues and acts as a venue where people can exchange ideas, form their own opinions, and participate in the world of science and technology. 

In this way it offers orientation in an increasingly complex world in which science and technology place a decisive role and enables museum visitors to reach informed decisions and act as informed citizens in political decision-making processes.


fonte: @edisonmariotti #edisonmariotti
http://www.deutsches-museum.de/en/information/about-us/mission-statement/

Bangladesh National Museum -- Museu Nacional do Bangladesh (Bengali: বাংলাদেশ জাতীয় যাদুঘর)

The history of Bangladesh National Museum is eventful and glorious, connected as it has been, in chronological sequence, with British Indian history, the birth and dissolution of Pakistan, and the emergence of Bangladesh.


At the turn of the twentieth century Lord Curzon, Viceroy of India, by his policy of provincial readjustment, provided the political ground for the establishment of a museum in Dhaka. He partitioned Bengal on 16 October 1905. 

The historic city of Dhaka became the capital of the new Province of Eastern Bengal and Assam. Consequently, Dhaka witnessed a tremendous physical growth with all-round development. The proposal to start a museum in Dhaka was first mooted in the autumn of 1905 in connection with the transfer of the Shillong Coin Cabinet to Dhaka. 

As a result of a letter, dated 1 March 1910, submitted by H. E. Stapleton in his capacity as the Honorary Numismatist to the Provincial Government, to the Director of Public Instruction. Sir Lancelot Hare, Lieutenant Governor of Eastern Bengal and Assam, passed orders for the selection of a site for a museum in Dhaka. But no definite action was taken until 1912 when the proposal for starting a university in Dhaka brought the matter again into prominence.

As the partition of Bengal was revoked on 1 April 1912, the thought that the glory of the old and illustrious city was once more to wane, saddened the elites of Dhaka. They began to press their demand for developing the future university town. Because of the absence of a public museum in Eastern Bengal many antiquities that turned up on casual excavation in the Dhaka and Chittagong Divisions, were removed to the Indian Museum in Kolkata. 

This position was unacceptable to the elites of Dhaka. They met Lord Thomas David Baron Carmichael, the Governor of the Presidency of Bengal, under the leadership of N. Bonham-Carter, Commissioner, Dhaka Division, at a conversazione held in the Northbrook Hall on 25 July 1912. 

The purpose of the meeting was to make the final attempt to realize their long standing claim to a museum in Dhaka. Their address of welcome to the Governor emphasized the immediate necessity of the establishment of a university, a museum and a public library in Dhaka which had by that time been again reduced to the status of a district town. The address also drew the attention of Lord Carmichael to a temporary exhibition of a large number of antiquities gathered together mostly on loan from different sources. The Governor conceded to the demand for a museum and was pleased shortly afterwards to make a grant of Rs. 2,000 to cover the initial expenditure on the proposed museum.

When the conversation was over, most of the exhibits were provisionally deposited in the Dhaka Collectorate and in a few other places.To house the collection, a room in the Secretariat (now the Dhaka Medical College Hospital) was allotted. The setting up of Dhaka Museum was formally approved by the Governor in Council in the official Gazette of 5 March 1913. A Provisional General Committee of 30 members was constituted with Nicholas D. Beatson-Bell, Commissioner, Dhaka Division, being its President. Thereafter an Executive Committee was formed to administer the Museum.

Dhaka Museum was formally inaugurated by Lord Carmichael at a second, largely-attended conversazione held in the Secretariat on Thursday, 7 August 1913. The Museum had a rapid growth. In consequence of the growing number of exhibits, two additional rooms were allotted after 24 June 1914. Mr. Nalini Kanta Bhattasali was appointed Curator by the Executive Committee on 26 June 1914, and he joined on 6 July 1914. After the exhibits were displayed in the three rooms, Dhaka Museum was first opened to the public on 25 August 1914. On that day the Museum had 379 objects on display.

Dhaka Museum was transferred from the Secretariat to the Baradari and the Gatehouse at Nimtali in July 1915. Nalini Kanta Bhattasali, the first Curator of the Museum, worked hard to develop the Museum and succeeded in collecting many antiquities. He made the best use of the objects accumulated to publish a number of scholarly books and thus enhanced the prestige of the Museum.

The constitution of the General Committee underwent drastic changes in 1936 in view of the growing relationship between Dhaka Museum and Dhaka University which had no museum of its own. The Executive Committee, which was actually a smaller body of the General Committee, was dissolved, and the General Committee was reduced to a 9-member Dhaka Museum Committee with the Vice-Chancellor of Dhaka University as its President.

Nalini Kanta Bhattasali died on 6 February 1947. Mr. S. C. Banerjee, Keeper of Manuscripts, Dhaka University, was then put in charge of Dhaka Museum. On 12 August 1947 Dhaka University took over Dhaka Museum from the Provincial Government. As a result, the 9-member Dhaka Museum Committee was replaced by a 16-member Dhaka Museum Committee. From 3 January 1951 to 17 June 1965 Dhaka Museum was looked after by the Honorary Curators who worked part-time.

After the death of Nalini Kanta Bhattasali, Dhaka Museum again got a full-time salaried Curator on 18 June 1965. He was Mr. Enamul Haque. As he began undertaking exploratory tours like Bhattasali, Dhaka Museum got a new lease of life. On 9 August 1969 he became the Director. On 22 April 1970 the Dhaka Museum (Board of Trustees) Ordinance came into force. As a result, Dhaka Museum became a statutory body, its administrative authority being no more Dhaka University but the Government of East Pakistan.

For any country the National Museum is a prestigious institution. After the emergence of Bangladesh the new-born nation state considered it to be a prime necessity to upgrade the museum. For Bangabandhu Sheikh Mujibur Rahman, the proposed National Museum was extremely important. He wanted his countrymen to know “the true history of the struggle of the Bengalis,” as he told them “the time has come when our younger generation should know the actual history of the past sacrifices and resistance movements.” He began referring to Dhaka Museum as the National Museum. He appealed to his countrymen to hand over to Dhaka Museum all objects connected in some way or other with the struggle for freedom, and he himself presented to the Museum 49 objects including the first shell fired upon the enemy and the national flag hoisted at the Bangladesh Mission in Kolkata on 18 April 1971.

In 1972, the Dhaka Museum Board of Trustees submitted to the Government a Scheme for the National Museum of Bangladesh. In view of the urgent need for the establishment of a National Museum in the country, the Government, on 2 January 1974, constituted an 11-Member National Museum Commission to give its recommendations on the establishment of the proposed National Museum. The Commission unanimously recommended to the Government to establish a National Museum in Dhaka with Dhaka Museum as its nucleus, and the Government accepted this recommendation. Bangabandhu Sheikh Mujibur Rahman wanted to build a national museum on a massive scale. As he visualized, in addition to exhibiting antiquities and works of art through different periods of history, it would depict all phases of “the struggle of the Bengalis” for their political and cultural freedom and economic emancipation.

The Scheme for the National Museum Project was approved on 27 December 1975. The Bangladesh Jatiya Jadughar Ordinance, 1983 was promulgated on 20 September 1983. Bangladesh National Museum was formally inaugurated at Shahbag on 17 November 1983. Dr. Enamul Haque became the first Director General of Bangladesh National Museum.

Bangladesh National Museum is now housed in a four-storied building with a total floor space of 202,116 square feet. From a humble beginning in a single room in 1913 the Museum has now grown into one of the largest museums in South Asia.


fonte: @edisonmariotti #edisonmariotti http://bangladeshmuseum.gov.bd/
http://pt.advisor.travel/poi/Museu-Nacional-do-Bangladesh-8712

--pt
O Museu Nacional do Bangladesh (Bengali: বাংলাদেশ জাতীয় যাদুঘর), inicialmente estabelecido a 20 de Março de 1913, ainda que com outro nome, e formalmente inaugurado a 7 de Agosto de 1913, recebeu o estatuto de museu nacional do Bangladesh a 17 de Novembro de 1983. Localiza-se em Shahbag, Dhaka.


National Musium, Dhaka, Bangladesh — kaikobad @ Panoramio


Museu Nacional do Bangladesh O Museu Nacional do Bangladesh (Bengali: বাংলাদেশ জাতীয় যাদুঘর), inicialmente estabelecido a 20 de Março de 1913, ainda que com outro nome, e formalmente inaugurado a 7 de Agosto de 1913, recebeu o estatuto de museu nacional do Bangladesh a 17 de Novembro de 1983. Localiza-se em Shahbag, Dhaka.
জাতীয় যাদুঘর,The Bangladesh National Museum (about comment-1) — roymonotosh @ Panoramio


Museu bem organizado, dispõe de vários departamentos como o de etnografia e artes decorativas, o departamento de História e Arte Clássica, o departamento de História Natural e o departamento de História Contemporânea.


National Museum 4/2009 — F.Zaman @ Panoramio










national museum, dhaka — mahfuz1961 @ Panoramio






Cannon in front of National Museum by Mizan — A.B.M Mizanur Rahman @ Panoramio








Bangladesh National Museum, Shahbag, Dhaka — Ashadur @ Panoramio




Pond behind of national meuseam — minarul999 @ Panoramio


Bangladesh Dhaka Shahbag — Shahnoor Habib Munmun @ Panoramio


National Museum, Shahbag, Dhaka — smmyazdi @ Panoramio


National Museum, Shahbagh, Dhaka - 16/12/2007 — ershad37 @ Panoramio



The Belgrade Museum of Contemporary Art was opened on October 20th 1965.

 However, Museum activities began as early as 1958, when an act brought by the Cultural Council of the Peoples’ Committee of Belgrade established the Modern Gallery, an institution the purpose of which was to supervise the development of contemporary art in Yugoslavia. 


The Executive Council of the Socialist Republic of Serbia decided to construct a building which would live up to the standards of modern museological principles, and allots a location for it in New Belgrade, at the Sava-Danube junction, across the Belgrade Fortress. An open competition for the project of new building was announced in 1960. 

Architects Ivan Antić and Ivanka Raspopović won the competition with a project for which they would later, namely at the opening ceremony of the Museum, be awarded the October Prize of the City of Belgrade for Architecture. After the construction of the new building was completed, the Council of the Modern Gallery passes a new name for the institution – the Museum of Contemporary Art. The first director of the Museum was Miodrag B. Protić. 

The theoretical and practical experiences of the most distinguished international museums of modern and contemporary art were taken into consideration in the process of the creation of Museum’s guiding work principles.

Museum’s founder and its first director was Miodrag B. Protić, a painter and the author of many significant exhibitions, books and texts concerning the history of modern Yugoslav and Serbian art. The other directors of the Museum were: Marija Pušić (1980-1984), Kosta Bogdanović (acting director, 1984-1986), Zoran Gavrić (1986-1993), Radisav Trkulja (1993-2001), Branislava Andjelković Dimitrijević (2001–2013),Vladislav Šćepanović (acting director, 2013-2014) and Jovan Despotović (acting director, 2014-).


Authors: architects Ivan Antić and Ivanka Raspopović


The Building of the Museum of Contemporary Art is situated in New Belgrade, on the left bank of the Sava River, across the Belgrade Fortress. Its unique concept of the interior design and, on the other hand, its link to the surroundings represent an original solution which meets basic museological requirements. The building is an interesting example of museum architecture worldwide. It is surrounded by a sculpture park with works by the most significant Yugoslav sculptors of the 20th century.


The main volume of the building is a polymorphous crystal comprised of six cubes with cut angles. The facade are mainly covered with white marble panels and partly with glass, and the sloping roof surface is covered with glass. The interior is characterized by its functionality and spaciousness. A unique and specifically arranged interior space, without vertical partitions and corridors, is divided into five exhibition levels interconnected by stairs. These levels, which almost merge into one another, served as a means to connect a number of spaces of different heights into a whole. This solution made it possible for visitors to view the exhibits on the lower levels from multiple angles from upper levels, as well as to reach the upmost levels with minimum effort. The total area of the interior space is 5.055 square meters. The ground floor is standing 1.80 meters above the ground, and the first level is 3.90 meters above the ground. The difference in height between second and third level spans from 2.34 m to 1.56 m. The highest level is 10.14 m above the ground.


The Museum’s Building has been declared a cultural property of national interest in 1987. and is under the protection of Republic Institute for Protection of Cultural Monuments.


--

The Permanent Display of the Works of Yugoslav Art from the Collections of the Museum of Contemporary Art



Author and curator: Dejan Sretenović


The permanent display of the works from the collections of the Museum of Contemporary Art is changed every three to five years and is, as a rule, based on the author concepts of the reconstruction of historical periods, movements, tendencies, and individual phenomena in the Yugoslav art space. The last display comprised of 160 works of Yugoslav art originating from the 1900-1981 period, and wass structured as a make-up of a number of mini exhibitions, distributed in accord with the spatial units of the exhibition space.


The structuring of the display by means of autonomous exhibition units has been governed by a twofold reason: an exhibition is a place of the immediate communication between a work of art and an audience and a strategic model of the acquisition of knowledge about art. For that reason, every mini exhibition simultaneously functions as a text which configures and interprets certain chapters of the 20th century history of Yugoslav art, but also as a context for the comparative understanding of the intrinsinc meaning and historical position of every individual work of art. Besides, the reduced number of exhibits in every exhibition segment serves the purpose of emphasizing individual works of art which the history of art has, in general, already verified as anthology works of modern Yugoslav art. Thus conceptualized, the permanent display treats exhibited works as representative semantic and autochtonous esthetic objects, making it easy for the visitors to travel through the world of ideas, themes, and stylistic and linguistic orientation of the Yugoslav art space.


The basic segments of the display are arranged in the following manner: The Beginnings of Modern Painting (Symbolism, Impressionism, Realism), Cezannism and Postcubism, Expressionism (of color and shape), Intimism, The Pioneers of Abstract Painting, Historical Avant-Gardes (Constructivism, Surrealism), Socially Engaged Art, Expressive Figuration After 1945, Fantastic Art and “Dark Modernism”, Abstract Landscape, Informel, Neoconstructivism and Protominimalism, Late Modernist Sculpture, The Belgrade New Figuration, Conceptual Art, Video Performance, Foreign Graphic Art (Abstract Tendencies After 1945, Pop-Art).


The permanent display was situated on 2nd and 3rd level of the exhibition space, whereas the ground floor, 4th and 5th level were scheduled for current exhibitions. During the intervals between current exhibitions, 4th and 5th level were used for the representation of “modular”, predominantly thematic and monographic, exhibitions with the works from the collections of the Museum of Contemporary Art, which arise from the research work the curators perform within these collections. The body of works originating from 1980 onwards forms special modules, which could not become a part of the permanent display because of the exhibition space limitations. Modular exhibitions made the displays of the works from the collection more frequent, and were also scheduled for the display in provincial towns.





fonte: @edisonmariotti #edisonmariotti http://eng.msub.org.rs/