quinta-feira, 27 de agosto de 2015

AGENDAS MUNDI XLIX – MUSEOS EN OMÁN - · en CULTURA, MUSEO,MUSEOGRAFÍA, PATRIMONIO, RELATO, VIAJES. ·

En Muscat se encuentra la Gran Mezquita, lugar que guarda una maravillosa alfombra gigante hecha a mano, que por otro lado era la más grande del mundo hasta que los de Abu Dhabi decidieron que ellos la tenían que tener mucho más grande y así se hizo. Abu Dhabi construyó su Gran Mezquita Abu Dhabi con una alfombra que aparece en el Libro Guinness de los Records. En realidad, este dato para los omanís es irrelevante; no presumen de ser los primeros ni de tenerla más grande (la alfombra) de todos los emiratos, una región obsesionada e inmersa en la más absoluta estúpida vanidad. Los omanís, por el contrario, tienen un fuerte sentido de identidad nacional, cuidando su rico patrimonio histórico, orgullosos de su pasado de comerciantes y muy optimistas mirando al futuro.

Mutrah (Omán), James L. Stanfield para National Geographic

Para los turistas, Omán ofrece una forma un tanto extraña de adentrarse en el mundo árabe sin ser deslumbrados por una riqueza estridente y hortera como la de sus vecinos. Omán, fuera de su capital Muscat (que significa “fondeadero seguro”), muestra pueblecitos y zonas rurales que mantienen el encanto de su historia, mostrando los valores de los beduinos como seña de identidad principal. Es un país con abundantes zonas de belleza natural, con altas montañas y desierto con dunas interminables por donde podremos deslizar un 4×4 a toda mecha.

Echemos un vistazo al patrimonio museístico de Omán, al que aun no han metido mano los arquitectos estrella de todos conocidos.

Museo Bait Al Zubair | Muscat


Este museo tiene como misión principal la exposición de importantes fondos etnográficos del país, reflejando con particular detalle el perfil que define a las gentes de Omán y su historia. El museo, con muestras de objetos industriales locales explica la importancia de la economía para el desarrollo del país y también exponiendo su herencia cultural. El museo muestra como las técnicas artesanales se heredan de padres a hijos, de madre a hija, aunque desgraciadamente el desarrollo brutal en el que está inmerso Omán, los artesanos tienden a la desaparición, aunque aun se pueden ver tiendecitas con productos manufacturados típicos de allí. En cualquier caso, lo importante es adentrarse en lo que es verdaderamente representativo del país, sus gentes, su identidad y la conservación de su pasado histórico, como se puede ver en este museo.

Museo de la Puerta de Muscat (sin site) | Muscat


El museo que se encuentra en la parte superior de la puerta amurallada que separa la ciudad del exterior, fue inaugurado en 2001, sus murallas dejaron de ejercer su función de mantener a salvo la tranquila villa de Muscat de los viles merodeadores en 1970. El museo contiene exposiciones sobre la historia de Omán, desde el Neolítico hasta la actualidad. También tiene una serie de exposiciones especiales que explican la existencia de fuentes de agua mineral de Muscat, un muestrario de tradiciones históricas del lugar, canales subterráneos, casas, mezquitas, puertos y fortalezas.

Museo del Legado Omaní | Muscat


El museo comparte edificio con el Ministerio de Información de Omán, siendo inaugurado en 1974. Dispone de una detallada colección de objetos arqueológicos e información histórica sobre arquitectura, agricultura, yacimientos de minerales, rutas de comercio locales, armas y artesanía de Omán. Tiene un departamento de Historia Antigua en donde también se exponen reliquias de civilizaciones ancestrales, como son lápidas funerarias, herramientas, utensilios de piedra para su uso en la agricultura y todo tipo de adornos para las mujeres. También se muestra una exposición explicativa sobre la relación entre el hombre y la tierra, incluyendo una explicación sobre métodos de irrigación.



Museo que también es conocido por el nombre de Bait Assayed / Nadir bin Faisal bin Turki, el que más os guste, es el museo nacional emplazado en la ciudad de Ruwi. El museo se creó en 1978, con exposiciones sobre ornamentos realizados en plata, objetos de cobre y dioramas con embarcaciones típicas omanís. Tiene una sección dedicada a las pertenencias de la dinastía de Al Busaidi, dinastía que gobernaba Zanzibar. Se expone una importante carta del profeta Mohammed del siglo VIII, dedicada a revelar las reglas que se debía seguir para instaurar la fe en el Islam por todo el país. Las exposiciones restantes están dedicadas a joyas, instrumentos y otras pertenencias del sultán Said Al Sayyidah Bint, que incluye toda una cubertería de plata.

Museo de los Niños y Niñas de Omán | Muscat


Hablamos en realidad de lo que sería un museo de ciencias dedicado a los niños y niñas, bien redondito. El museo fue creado por el Ministerio del Legado Histórico y Cultura de Omán en 1990, y cuyo promotor fue el sultán Qaboos bin Said al Said. El museo ofrece 45 exposiciones con dos demostraciones didácticas a cargo de dos monitores, todo ello en una superficie de 930 metros cuadrados. Fue el primer museo dedicado a la ciencia en el país, siendo visitado por unos 50.000 personas al año. Dispone de varias exposiciones interactivas sobre la electricidad, la atmósfera, sombras y efectos ópticos, etcétera. Muy en la línea de lo que es el típico museo infantil.

Museo Nacional de Historia Natural | Muscat


Otro museo localizado en el complejo de edificios del Ministerio del Legado Histórico y Cultura de Omán, denominado Al Khuwair, justo enfrente de la Gran Mezquita. Se inauguró en 1985, exponiendo contenidos sobre la flora y fauna del país, con displays en los que se pueden ver mamíferos, insectos, pájaros. la institución también dispone de jardines botánicos. Lo más destacable del museo es el Salón de la Ballena, donde se expone el esqueleto de una ballena de esperma, que fue recogida en las costas del país en 1980. También se muestran fósiles marinos, de mamíferos ancestrales como son monos y primitivos elefantes, el diente de un Deinoterium y de un Gomphoterium y animales como son el leopardo árabe, onyx, lobo de Arabia, etcétera.



Este museo se inauguró en noviembre de 1979 promovido por la institución nacional Petróleos de Omán (PDO), siendo totalmente renovado en 1995. Dispone de seis diferentes exposiciones que explican cómo se hace la extracción tanto del petróleo como el gas en las profundidades de la tierra, desde los yacimientos de materia orgánica depositados allí por los océanos y lagos desde hace millones de años. Se muestra como se hacen los hallazgos de los yacimientos, su prospección y como se traen a la superficie para ser convertidos en todo tipo de productos de uso humano. Los expositores han sido diseñados para que los visitantes puedan interactuar con el contenido, disponiendo de computadoras, maquetas y vídeos. cada zona expositiva está dedicada a un tema individual ordenados cronológicamente, comenzando por el descubrimiento del yacimiento, seguido por la extracción, refinado, transporte y fabricación de productos derivados. Los visitantes también reciben una extensa explicación sobre el rol que la tecnología moderna juega en la industria del gas y el petróleo, materias de las que el pueblo omaní debe estar profundamente agradecido, lo mismo que sus vecinos.

Museo de las Ciencias Marinas y la Pesca de Omán – Acuarium (sin site) | Muscat


Este es un museo dedicado al mar de Omán y su contenido. Se inauguró en 1986 de la mano de la Universidad Sultán Qaboos, con el objetivo de incrementar el conocimiento entre la población y visitantes foráneos sobre las especies marinas de la zona, dándole especial énfasis a la conservación y preservación del ecosistema marino y la protección de las especies en peligro de extinción, sobre todo las tortugas. El acuarium dispone de un gran número de diferentes especies marinas procedentes de sus 3.165 kilómetros de costa.

Museo Omaní Francés | Muscat


Un museo que era la vivienda del cónsul francés en Oman, en el barrio más antiguo de Muscat. Es un edificio blanquísimo que realmente es un palacio, convertido en museo de la mano del sultán Assayed / Faisal bin Turki que fue un regalo que le hizo este último al cónsul francés en 1896. En 1992, el sultán Qaboos bin Said y el ex-presidente Mitterrand inauguraron el museo dedicado a la difusión histórica de las relaciones entre ambos países. El museo expone una amplia muestra de objetos y fotografías pertenecientes a los primeros diplomáticos franceses, con una colección de documentos históricos, legados de la industria de la fabricación de barcos omaní-franceses, vestidos y trajes, joyas y muebles.



Museo de las Fuerzas Armadas del Sultán | Muscat


Este es un museo sobre historia militar; lo mencionamos porque allí es un museo al que se le da mucha importancia, nosotros no nos gusta como tampoco cualquier museo de estas características que no enseñan realmente nada. Las instalaciones del museo son la antigua fortaleza del sultán Said bin Sultán y de sus fuerzas armadas. El museo tiene una extensa colección relacionada con el armamento histórico de Omán (muy interesante…), exponiendo armas, artefactos de guerra, pistolitas, fusiles, vehículos militares, uniformes, instrumentos, medallas e incluso un asiento de avión de caza con eyector y su paracaídas en exposición.

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

In the history of the Modern Greek visual arts, the Macedonian Centre of Contemporary Art and the Macedonian Museum of Contemporary Art represent a remarkable achievement of individual initiative.

It all started in 1978: In a conversation between Maro Lagia and Alexandros Iolas, after the latter had shown a keen interest in the damages inflicted on the monuments of Thessaloniki by the 1978 catastrophic earthquake, Maro proposed the creation of a contemporary art centre in Thessaloniki. Iola’s response was immediate –“Oh yes, no more hospitals and orphanages; a centre of contemporary art; that’s exactly what Thessaloniki needs.”




In the meantime, a group of friends, almost all lovers of art, gathered at the Dambassinas family farm outside Thessaloniki to avoid the aftermaths of the earthquake, discussing the problem of the damaged monuments, referred to the prospect of creating a contemporary arts centre, missing from the city. A member of the group, Argyris Maltsidis, city councellor at the time, mentioned the relevant case of the Skopje Museum which was founded after the 1963 earthquake and for which there had been an international appeal to artists for support and donations of works of art.

However, the defining factor to the positive outcome of the idea was Maro Lagia’s persistent and friendly communication with Iolas which led to a major donation on the part of this charismatic and internationally famous collector. The news of the donation encouraged both those who first had the idea as well as all those who had adopted it. From the beginning, Petros Kamaras, a well-known local tobacco merchant, man of letters and lover of arts, firmly supported the whole project, taking an active part in the setting up of the association. That’s how the “Macedonian Centre for Contemporary Art” came into being on 30.01.1979, with a provisional board of directors under the chairmanship of Petros Kamaras. A written text entitled “thoughts for the founding of a contemporary Art museum in Thessaloniki” was then sent out to the various civic, social and cultural institutions. Among the founding members, in addition to those mentioned above, were some other prominent citizens of Thessaloniki: Manolis Andronikos, Antonis Anezinis, Alexandra Boutari, Yannis Boutaris, Petros Dimitrakopoulos, Doris Economou, Dimitris Evrigenis, Dimitris Fatouros, Katerina Kamara, Sophia Kazazi, Panagiotis Kokkas, Giorgos Kontaxakis, Kleitos Kyrou, Vasilis Ladenis, Eleni Lazaridou, Giorgos Lazongas, Konstantinos Lefakis, Petros Makridis, Yiota Kravaritou Manitaki, Ioanna Manoledaki, Enny Mihailidou, Roula Pateraki, Xanthi Skarpia-Heupel, Nora Skouteri, Alexandros Tsamis, Panos Tzonos, Nikos Vasilakakis and Pavlos Zannas.

One of the primary concerns of the newly founded association was to find a place to house Iola’s donation of the forty seven works of art. Both Petros Kamaras, the chairman, and Eleni Lazaridou, special secretary of the centre (also public relations and promotion manager of the International Fair of Thessaloniki) did their best towards this effort but up to 1982 response was rather poor. Meanwhile, during that period, the MCCA held a series of remarkable art exhibitions at various places in the city. The cost of the exhibitions as well as of the other parallel activities was covered by Yannis Boutaris, a founding member and ardent supporter of the centre. Boutaris, not only worked as a treasurer of the board but he also became its exclusive sponsor for fifteen years through I. Boutaris & Son Company. He has been the first benefactor of the centre with a prominent role in its history and a defining contribution to its success ever since.

However, the problem of housing Iola’s donation still remained unresolved for want of a proper exhibition space. The solution came when Giorgos Philippou, a well Known industrialist, offered 850 sqm of the grounds of his unit thanks to the mediation of art critic Sophia Kazazi. Philippou’s remarkable donation secured the life of the centre the board of which would later honor him as one of its benefactors. Once an exhibition place was found, Iolas was convinced of the sincerity of the members of the Association and their commitment to the idea of developing the center into a Foundation of a Museum. So; Iolas himself with Maro Lagia-the member whose persistent reassurances and persuasive power made Iolas donate the forty seven works of art-supervised the conversion of the place into an exhibition space offering one million drachmas in addition to the 700 (seven hundred) drachmas already granted by Yannis Boutaris. He also curated in person the whole exhibition.

So, in 1984, the exhibition “Contemporary Painting and Sculpture”-Iolas’ donation- marks the official entrance of the centre into its first period of life. The same as important is another donation that of Franz Geirehaas excellent engravings, thanks to the mediating efforts of Ioanna Manoledaki, member of the board.

Until the mid eighties, the first two boards of directors were trying to mark the MMCA known to the public through various other exhibitions and parallel events that used to take place either in a rather small room at the installation of Filkeram Johnson or in any other exhibition hall in the city. The 1986-1987 board of Directors, with the six new members from among the founders, continued the centre’s exhibition policy in the same spirit. One of the new members of this board was architect Dr Xanthi Skarpia-Heupel who was elected president to the next Board of Directors after Petros Kamaras well documented recommendation.

Despite the work done by the active members, the centre suffered from a low number of visitors and consequently from poor publicity: the public would attend the opening of an exhibition but that was all! The problem had to be faced. The members of the board got engaged in endless discussions and it was finally cleared out that a combination of reasons were to blame: a. the negative reception of the message of contemporary art, b. the difficult accessibility to the exhibition site which was a long way from the city centre and c. the bad weather of that winter. Early in 1988, a policy of co-operation with foreign missions, Goethe Institute primarily, but also with the town authorities was firmly adopted.

For the following four years the MMCA experienced a cultural odyssey, organizing a series of ambitious exhibitions at every possible exhibition place of Thessaloniki: the Old Archaeological Museum, the new Archaeological Museum, the White tower, Alatza Imaret, the buildings at the Port of Thessaloniki, as well as those of the Thessaloniki International Fair.

The need for permanent exhibitions premises became the item on top of the agenda of every Board of Directors meeting. Out of the various proposals submitted for the case, agreement was reached on two: either the one that preferred the buildings of the Thessaloniki International Fair (president’s proposal) or the one that preferred the Port (proposal of the vice president Maro Lagia). The Pavilion of the Public Power Corporation (D.E.I.) on the grounds of T.I.F. was found the most appropriate choice and thus the next step would be to pursue a loan-for-use of the chosen premises. The chairwoman Xanthi Skarpia-Heupel, duly authorized by the Board of Directors, tried hard in negotiating the usage of the site with the President of the I.F.T. Mr Rigas Tselepoglou as well as with the director of the Public Power Corporation (D.E.I.) Professor Themistocles Xanthopoulos.

On May 15, 1991, the pavilion of D.E.I. was granted with a loan-for-use, except for the months of July, August and September, during which D.E.I. would need it for its participation in the annual International Fair of September. The immediate concern was to find the money for the conversion of the pavilion into a proper exhibition space. With the help of the Prefect, Prof. Dimitrios Vlahos who showed a sincere interest in the activities of the centre, a factual study was carried out stressing the centre’s pioneering role in contemporary art for the whole country. As a result, the conversion of the pavilion into a cultural exhibition place was approved and a sum of sixty (60.000.000) million drachmas was granted from the operational program “Culture” of the second community support framework. The additional sum of money came from a loan of ten (10.000.000) million drachmas from I. Boutaris & Son Company and the whole project would be finally completed with the donations of Petros Makridis’ architectural plans, Argyris Maltsidis’ static, financial and technical study and Xanthi Skarpia-Heupel’s together with Argyris Maltsidis’ supervision of the work in process and the final arrangements.

In 1992 the pavilion was inaugurated by Melina Mercouri, Minister of Culture, with the exhibition “Automates et Robots” jointly organized with the French Institute. The same year, the Centre organized two parallel exhibitions at the Zappeion in Athens: one with sculpture works of its own collection and another entitled “Artists from Northern Greece: From the two dimensions onto the space”.

The same year, 1992, was a turning point for the centre’s relations with the ministry of culture: it was the first time that members of the board-namely Katerina Kamara, Alexandra Boutari and the president Xanthi Skarpia-Heupel, visited the Ministry of Culture general secretary Panagioti Photea with a petition for financial support. Panagiotis Photeas, a politician who appreciated the importance of volunteer work, responded with a supportive report to the Ministry of Culture Mrs Psarouda-Benaki who granted a sum of ten million (10.000.000) drachmas, the first money coming from the Greek state. It was a token of approval and reward for all the work done towards the creation of the first Contemporary art centre in Greece.

During the two following years, board member, Katerina Kamara made herself responsible for the Museum to acquire its legal status as a foundation. In 1994, with the assistance of Giorgos Papadimitriou, Professor of Constitutional Law at the University of Athens, whose legal office undertook all legal procedures necessary, the Macedonian Museum of Contemporary Art was founded as an institution of private law under the supervision of the Ministry of Culture. The fact was celebrated with an exhibition at the Zappeion in Athens under the aegis of the Ministry of Foreign Affairs (Foreign Affairs Minister Theodoros Pangalos).

The three years, 1994, 1995 and 1996 were marked on the one hand by twenty-two successful exhibitions, most of which were accompanied by relevant catalogues, educational programmes and parallel events and on the other by contributing efforts for a permanent exhibition place since Giorgos Philippou had officially requested the removal of Iolas’ collection out of the Filkeram Johnson that was needed in the extension plan of the industrial unit.

The Museum needed more space and the Board focused its attention on efforts to extend the site by adding in 250 sqm adjacent to the existing D.E.I. pavilion. Repeated and persistent applications on the part of the president Xanthi Skarpia-Heupel to T.I.F. president Alekos Bakatselos led to positive results when the latter was at length persuaded that this building could be T.I.F.’s contribution to “Thessaloniki Cultural Capital of Europe”. The plans for this three storey building were all free offers (donations): The architectural plans by Xanthi Skarpia-Heupel of “Tzonos, Heupel, Heupel”, the static plans by Penny Antoniadi of “BASIS/SYSTEM” and the electromechanical ones by Saropoulos-Lagos. The project was managed by ARCHITEX-ATE and, after a call for tenders the construction contract was awarder to “Andreadis – Zisiadis ATE”. Architectural and static supervision were also donations by Xanthi Skarpia-Heupel and Penny Antoniadi respectively.

Difficulties due to the discovery of ancient remains of archaeological interest were overcome by preserving part of the road that led to a tomb. So, the building was inaugurated on schelduted time as the first one of the “Thessaloniki Cultural Capital of Europe” projects.

At the same time three major exhibitions were under way: Two of them in co-operation with I.Ph. Kostopoulos foundation “Pavlos Retrospective” curated by Katerina Koskina and Maria Kotzamani. Respectively- and one “Kessanlis Retrospective” with the participation of “Thessaloniki Cultural Capital Of Europe” curated by Giorgios Tzitzilakis. Iolas’ collection was also removed from Filkeram-Jonhnson and under the supervision of Katerina Kamara, Maro Lagia and Xanthi Skarpia-Heupel it was exhibited in the Museum new galleries named after this first donor, Alexander Iolas.

For the landscape architectural arrangement of the surrounding grounds Xanthi Skarpia-Heupel and Maro Lagia turned for advice to Philolaos, a sculptor famous for his work in public spaces in Paris, Valence and Toulouse, awarded with the Académie Française Knight’s Cross for Fine Arts.

Philolaos’ drafts, worked out in detail by the president, were approved by the members of the board who, once more, set out to look for funds. For the purpose, Xanthi Skarpia-Huepel and Alexandra Boutari payed a visit to the Minister of Public works Kostas Laliotis who approved of the required sum of (100.000.000) a hundred million drachmas.

After all the burocratic procedures were successfully carried out by the president and approved by the members of the board, Philolaos was commissioned to create this monumental sculptural work. The supervision of the financial –technical study and the management of the budget were assigned to a Regional administration architect. Philolaos’ work, a creation of high aesthetic value and importance, was inaugurated by the Public Works Minister Kostas Laliotis with the presence of Evangelos Venizelos, Akis Tsohatzopoulos and Yannis Magriotis.

Philolaos’ sculpture is harmoniously combined with Zongolopoulos moving umbrellas – a joint donation by Prodromos Emphientzoglou and Board member Enny Michailidou’s “Barba Stathis” company – as well as with Koulentianos’ artworks- donated by “D. & A. Kallitsantsis, Hellenic Technodomiki, consultant engineers O.E., Steven Andonakos, Loukopoulos.

The third extension of the Museum (2450m²) involved many difficult levels of overlapping action. It began during the Presidenship of Antonis Kourtis, when TIF/helexpo decided the redevelopment of the pavilions and commissioned Architect Giorgos Kyrou, Professor at the Aristotle University of Thessaloniki and head of the Thessaloniki Master Plan organization, to prepare a study funded by a research program. The president submitted a well-documented proposal for the necessity the extension in which part of a secondary laneway that ran parallel to the existing building would be covered in the form of a gallery. This project became possible when Panos Tzonos, a founding member of the MMCA, professor of Architecture at the AUTh gave the information that the European Investment Bank program EFTA was granting funds for cultural buildings. The president immediately prepared an architectural preliminary study for the proposed extension in which the art historian and museologist, Professor at the AUTh, Matoula Skaltsa, member of the board drew up the Museum curriculum vitae.

All the above, along with the exhibitions catalogues and the time schedule for the following years, were presented by the president to the Bank headquarters in Athens. The directress of the program, Mrs Roula Eleftheriadou, who ignored the existence of a Greek Museum of Contemporary Art founded and supported mainly by volunteer citizens, was pleasantly surprised. “Unfortunately” she said, “there were no more funds in the program”. However, the president handed in her proposals in case there was a new chance. And, indeed, in a month’s time, the Bank announced the funding of one billion drachmas (1.000.000.000) of which eight hundred million (850.000.000) would come from the bank while the rest one hundred and fifty million (150.000.000) would have to come from the Ministry of National Economy.

There began a new round of efforts aiming, on the one hand, at persuading the ministry for the money and on the other, at obtaining a new loan-for-use from TIF/HELEXPO. Christos Pahtas, deputy minister, responded positively on hearing of the volunteer activity of the museum members while, after long negotiations between the chairwoman and Giorgos Sortikos, president of the TIF/HELEXPO, the latter was convinced of the righteousness of the decision and a new loan-for-use contract was drawn in which the above mentioned plot of land was included.

However, the European Bank claimed a guarantee that, the Ministry, in addition to its agreed participation in the construction expenses, submit a written commitment of its obligation to also cover part of the museum’s operational cost. So with the preliminary and final new architectural study by Xanthi Skarpia–Heupel, the static study by Nikolaos Asmeniadis and the electromechanical study by Ioulios Abbot, all free offers to the museum, the project was put to tender.

This time, according to the new plans, both levels of the road were covered, the gallery space included, thus the initial 1500m² were increased to 2450m². The cost remained the same by substituting some of the materials and by arranging that the supervision fees would be covered by donations.

The program was put to tender as study/construction and the contractor technical firm was ARCHITEX – ATE which decided for the application studies to be assigned as follows: The architectural study to the offices of K. Antoniou – E. Kastro & M. Rokkos and associates, the static study to the technical firm DELCO-E.P.E. N. Deligiannidis & Co and the electromechanical study to D. Bozi’s technical office. The Chairwoman Xanthi Skarpia–Heupel, the administration directress Maria Triandaphyllidou and Argyris Maltsidis offered charge–free supervisions of the architectural and general static engineering studies while the specific static study supervision and that of the electromechanical were done by Nikolaos Asmeniadis and Yannis Vakianis respectively. Skarpia-Heupel, Argyris Maltsidis and Maria Triandaphyllidou undertook the financial and technical completion of the project.

The supervision of the works met with enormous difficulties since a whole graveyard of 270 tombs came to light as soon as the excavations started. For fear of losing the grant of the Bank in case the absorbsion deadline was over due to the required time for the archaeological study necessary, Evangelos Venizelos, Minister of Culture, through the general secretary Mrs Lina Mendoni, provided extra financial help so that additional archaeological teams work for the project to move faster.

So, in 2002, with the completion of the building (that received the bank’s favorable comments) on the TIF grounds in the Centre of Thessaloniki, the first museum of contemporary art in Greece came into being. It was officially inaugurated by the Minister of Culture Evangelos Venizelos, the deputy Minister Christos Pahtas and the representatives of the European Investment Bank. Its size mounted up to 4.450m², providing new exhibition rooms, library, educational workshops, offices, an art-shop, a café and storage space while during the preceding ten years it fascinated 160 artists and numerous collectors who donated works of art or entrusted their collections – among them Alexandros Xydis, Achileas Apergis, Dimitris Meimaroglou, Magda Kotzia et. al.

The museum, with dynamic Board of directors, which, with the exception of two new members, Petros Rasoglou, ophthalmologist and Loretta Konstantinidou, businesswoman, has nearly remained the same in composition since its founding days and with an equally dynamic artistic committee (members: Xanthi Skarpia-Heupel, architect, professor at the AUTh, Katerina Kamara, sociologist and owner of the ZITA-MI art gallery, Maro Lagia, co-owner of the ZITA-MI art gallery, Alexandra Boutari, businesswoman and interior decoratrice, Matoula Skaltsa, art historian and museologist, professor at the AUTh) is an important cultural institution of Thessaloniki, promoting and supporting contemporary artistic creation and initiative, bringing the public in contact with the Greek and international visual arts through exhibitions, parallel events and educational programmes.

Since 2006, art historian Dennis Zaharopoulos, well known among the Greek as well as the European visual arts community, has been appointed the museum’s art director, thus strengthening the museum’s artistic merit.

Substantial support to the museum has been offered by the administration board of the “Macedonian Centre of Contemporary Art, Architecture and Industrial Design” and its friends, which works in close collaboration with various intellectual, cultural and economic bodies of the city.

It is due to this unique history of interpersonal relations and volunteer activity that the museum receives state support for all its operational costs and programmes while the cost of the exhibitions and the parallel events is covered entirely by sponsorships and grants.

Thus, during the years 2002-2004 a project entitled “Improving the services offered by the Macedonian Museum of Contemporary Art” (upgrading infrastructures and procuring operating equipment) was approved and implemented through the 3d CSF “Culture” operational program.

Through this project:
furnishings and audio-visual equipment were purchased for the multi-purpose amphitheatre and video room,
the Museum Library and storage rooms were adequately furnished and equipped,
audio-visual support systems, automatic guides and special lighting were purchased for the Museum’s indoor and outdoor exhibition spaces, and
the Museum was equipped with a fire detection and extinguishing system specially designed for use in museums and safe for both human beings and works of art,
also, the new extension was prepared to accommodate a major exhibition of works from the Museum’s collection, while the works donated by Achilleas Apergis and Chryssa were given their own distinguished place
the Roman burial monuments discovered during the excavation of the foundations for the Museum extensions, which the Archaeological Council on the recommendation of the 16th EPKA (Ephorate of Prehistoric and Classical Antiquities) had ordered to be conserved, were restored and displayed in situ,
the older parts of the Museum were duly conserved, the underground storage areas improved and the gift shop redesigned,
the outdoor facilities were roofed over, the windows and skylights shaded, and safety shutters fitted the façade,
the sound system was upgraded, and
the educational workshops were equipped.

2005-2006: Two projects were approved and implemented through the 3rd CSF "Information Society" Operational Programme, namely:
CREATION AND DEVELOPMENT OF A DIGITAL COLLECTION OF THE WORKS OF ART OF THE MACEDONIAN MUSEUM OF CONTEMPORARY ART, CREATION AND PROJECTION OF ELECTRONIC BILINGUAL EDITIONS OF THE COLLECTION, AND CREATION OF A PUBLIC INFORMATION HUB, and
DEVELOPMENT OF AN AUTOMATIC TICKETING AND VISITOR MANAGEMENT AND CONTROL SYSTEM AT THE MACEDONIAN MUSEUM OF CONTEMPORARY ART.

With these projects the Museum has:
upgraded its computer system and digitally catalogued its collections and its archives,
created a website, and
set up a computerised visitor income system.

fonte: @edisonmariotti #edisonmariotti
http://www.mmca.org.gr/mmst/en/museum.htm
colaboração: Αφροδίτη Διαμαντοπούλου

Teatrul Național, este cea mai vechi lăcaș de profil din România și este înscris pe lista monumentelor istorice.

Jurnaliștii BBC de la secțiunea de cultură și-au invitat cititorii să nominalizeze care sunt cele mai frumoase teatre din lume.

Potrivit BBC, alături de alte șase teatre, precum Bristol Hippodrome din Bristol (Marea Britanie), Olimpico din Vicenza (Italia), Palais Gariner din Paris (Franța), War Memorial Opera House din San Francisco (SUA) sau Teatro La Fenice din Veneția (Italia), a fost nominalizat și Teatrul Național „Vasile Alecsandri” din Iași. Potrivit BBC, clădirea a fost propusă de un utilizator român, Bogdan Bucătaru.

FOTO: Mihai Bulai

Teatrul Național, inclus în topul – „Seven theatres that take your breath away”, realizat pe baza popularității printre cititorii BBC, este cea mai vechi lăcaș de profil din România și este înscris pe lista monumentelor istorice.
Clădirea a fost proiectată în 1894 de arhitecții vienezi Fellner și Helmer, care au mai realizat construcții asemănătoare în Viena, Praga sau Zurich. A fost inaugurat în 1896, împreună cu uzina electrică a acestuia, care a marcat și începutul iluminatului electric în Capitala 

Moldovei.
Teatrul Național adăposește adevărate monumente de artă. Potrivit Știrile TVR, Cortina a fost pictată în 1896 de meșterul vienez M. Lenz și terminată de unul din discipoli. Aceasta prezintă în centru o alegorie a vieții, cu cele trei vârste, iar în dreapta, alegoria Unirii Principatelor Române.

De asemenea, Cortina de fier, pictată de Al. Goltz, cu motive ornamentale dispuse simetric, separă etanș scena de restul sălii, iar Plafonul pictat de Al. Goltz, în culori pastelate, reprezintă alegorii paradisiace, fiind ilustrat cu nimfe și îngeri și încadrat în stucatura rococo. Candelabrul din cristal de Veneția are 109 becuri.

fonte: @edisonmariotti #edisonmariotti http://greatnews.ro/
colaboração: Gabriela Mangirov


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Teatro Nacional, é o lugar mais antigo de seu tipo na Roménia e é registrado como um monumento histórico.

Jornalistas da BBC para a cultura e para nomear convidou seus leitores são os mais belos teatros do mundo.

De acordo com a BBC, juntamente com seis outros teatros, como Hipódromo de Bristol em Bristol (Reino Unido), Olimpico em Vicenza (Itália), Palais Gariner em Paris (França), War Memorial Opera House, em San Francisco (EUA) ou Teatro La Fenice em Veneza (Itália), foi nomeado Teatro Nacional "Vasile Alecsandri" University. De acordo com a BBC, o edifício foi proposto por um usuário romeno, Bogdan Bucătaru.

Teatro Nacional, incluída no top - "Sete teatros que tirar o fôlego", com base na popularidade entre os leitores da BBC

É o lugar mais antigo de seu tipo na Roménia e é registrado como um monumento histórico.

O edifício foi projetado por arquitetos vienenses Fellner e 1894 Helmer, que também fez construções semelhantes em Viena, Praga e Zurique. Foi inaugurado em 1896, juntamente com a sua planta elétrica, que marcou o início da iluminação eléctrica na capital

Moldávia.

Teatro Nacional adăposeşte monumentos de arte verdadeira. De acordo com a notícia TVR, a cortina foi pintado em 1896 pelo mestre vienense M. Lenz e terminou por um dos discípulos. Este centro apresenta uma alegoria da vida, as três idades, e no direito da União alegoria romenos Principados.


Além disso, a cortina de ferro pintado por Al. Goltz com motivos ornamentais simetricamente dispostas, separando nitidamente o palco da sala de descanso e teto pintado por Al. Goltz, pastel, é alegorias paraíso, ele é ilustrado com ninfas e anjos e enquadrado em estilo rococó. Veneza lustre de cristal com 109 lâmpadas.



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National Theatre, is the oldest place of its kind in Romania and is registered as a historical monument.

BBC journalists to the culture and to nominate invited their readers are the most beautiful theaters in the world.

According to the BBC, along with six other theaters, such as Bristol Hippodrome in Bristol (UK), Olimpico in Vicenza (Italy), Palais Gariner in Paris (France), War Memorial Opera House in San Francisco (US) or Teatro La Fenice in Venice (Italy), was nominated National Theatre "Vasile Alecsandri" University. According to the BBC, the building was proposed by a Romanian user, Bogdan Bucătaru.

National Theatre, included in the top - "Seven theaters That Take Your Breath Away", based on popularity among readers BBC

It is the oldest place of its kind in Romania and is registered as a historical monument.

The building was designed by Viennese architects Fellner and 1894 Helmer, who also made similar constructions in Vienna, Prague and Zurich. It was inaugurated in 1896, together with its electrical plant, which marked the beginning of electric lighting in the capital

Moldova.

National Theatre adăposeşte true art monuments. According to the news TVR, the curtain was painted in 1896 by Viennese master M. Lenz and finished by one of the disciples. This center presents an allegory of life, the three ages, and in the right allegory Romanian Principalities Union.


Also, the iron curtain painted by Al. Goltz with ornamental motifs symmetrically arranged, sharply separating the stage from the rest room and the ceiling painted by Al. Goltz, pastel, is paradise allegories, it is illustrated with nymphs and angels and framed in Rococo style. Venice crystal chandelier with 109 bulbs.

Musée des Arts Sahariens à Laâyoune

Le musée des arts du Sahara à laayoune a été inauguré en 2001.Il se trouve au sein de la maison de la Culture qui abrite également un conservatoire de musique et une salle de conférences. Les collections qui représentent le patrimoine culturel local sont exposées dans trois salles.



La Salle 1 :

Cette salle principale renferme plusieurs sections :

Section 1 :


dans laquelle sont exposées :
des photographies sur les sites archéologiques (ensemble de tombes, sites de rites et gravures rupestres remontant à la période néolithique de la préhistoire;
une reconstitution de l’école coranique : natte, tablette en bois, encre et place réservée au maître enseignant
présentation de la tente avec tous ses éléments reflètant le statut social de son propriétaire et de son rang économique .

Section 2 :

offre au visiteur :
des accessoires du dromadaire qui représente l’animal le plus prisé au Sahara par son utilité et son adaptation à l’environnement .
un ensemble de selles.

Section 3 :
constituée de collections qui représentent l’artisanat local par un ensemble de bijoux, de costumes féminins et des instruments de musique.
La Salle 2 et la salle 3 :

elles sont réservées aux objets en cuir qui montrent la diversité et la richesse de cette production (sac, portefeuille, oreiller, selles…).


fonte: @edisonmariotti #edisonmariotti
http://www.minculture.gov.ma/fr/index.php?option=com_content&view=article&id=84&Itemid=133&lang=fr


Maison de la culture
Place oum Saâd Laâyoune
Tél: (+212) 48 99-33-99

Savage Beauty é a exposição mais vista de sempre do Victoria&Albert Museum -- Savage Beauty é a vista de semper mais exposição do the Victoria & Albert Museum

A exposição Alexander McQueen: Savage Beauty, uma retrospectiva do designer de moda britânico – que se tornou, em Agosto de 2011, numa das mais visitadas de sempre do Museu Metropolitano de Nova Iorque – fechou em Londres, no Victoria and Albert Museum, no domingo e bateu o recorde de exposição mais vista do museu, com mais de 490 mil bilhetes vendidos. 





Era esperada como uma “exibição blockbuster”, descrevia o britânico Guardian em Março, dias antes da abertura, e confirmou-se. Em Londres, onde houve novidades em relação à exposta em Nova Iorque (com 13 fotografias inéditas de bastidores, uma secção focada nos primeiros trabalhos de McQueen, com 30 peças de vestuário adicionais e uma recriação do desfile Outono/Inverno 2006),.

As aberturas durante a noite, anunciadas duas semanas antes do fim da exposição, decorreram entre as 22 horas e as 5 da manhã (com o museu a abrir, novamente, às 8 horas), adicionaram 15 mil bilhetes extra às vendas globais – e criaram números que surpreenderam o próprio museu. 

“Planeámo-la para que fosse mais bem sucedida do que a de David Bowie [que vendeu 311.956 mil bilhetes] mas receber 490 mil visitantes é mais 100 mil do que o que estávamos à espera”, disse ao Guardian Tim Reeve, vice-director do museu, cuja exposição de maior sucesso, dedicada à Art Deco, vendeu 359.499 bilhetes em 2003. 

“Temos muita experiência com exposições grandes mas não prevíamos que seria assim tão grande”, confessou.

Segundo o vice-director do museu, a exposição Savage Beauty teve um orçamento de 3 milhões de libras (cerca de 4,2 milhões de euros). “Muito mais do que este museu alguma vez já gastou numa exibição”, admitiu. 

"Estamos absolutamente encantados por quase meio milhão de pessoas ter visitado Alexander McQueen: Savage Beauty. Uma exposição que é, estou orgulhoso por dizer, uma das mais imprevísiveis, dramáticas e espectaculares que já encenámos", corroborou Martin Roth, director do museu.

Para marcar o fim da exposição dedicada a McQueen em Londres, o fotógrafo Nick Knight, que trabalhou com o designer, lançou um curto fashion film que celebra o seu trabalho e dá a conhecer imagens nunca antes vistas de Alexander McQueen.

fonte: @edisonmariotti #edisonmariotti http://lifestyle.publico.pt/noticias/351819_savage-beauty-e-a-exposicao-mais-vista-de-sempre-do-victoriaalbert-museum


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Savage Beauty é a vista de semper mais exposição do the Victoria & Albert Museum

Mais de 490 miles pessoas I visitara a exposição que a obra de celebre Alexander McQueen entre 14 de Agosto de Marco E 2.

A exposição Alexander McQueen: Savage Beauty, uma retrospective door designer in fashion Britanico - que se torno of em Agosto de 2011, numa das mais visitadas also semper do Museu Metropolitano de Nova Iorqu to - fecho em Londres, no Victoria and Albert Museum, no domingo e o bate recorde exposição mais de vista do museum, com mais de 490 miles bilhetes vendidos.

Espera Era como uma "exibição blockbuster", descreve confident that Britanico Guardian Marco dias antes in abertura e confirmo-se. Em Londres, he has houv to Novidades em relação à expose em Nova Iorqu (com 13 fotografías inéditas also bastidores, uma secção Foca nose primeiros trabalhos at McQueen, com 30 PEÇAS also vestuário adicionais e uma recriação do Desfile Outono / Inverno 2006), that museum is recebi pessoas 493,043 miles to the Portas abrian à noite, pele primeira vez, money responder à procura.

As Aberturas durante a noite, anunciadas duas semanas antes do fim in exposição, decorrera my entre as 22 horas e as 5 in manhã (com o museum is a abrar, novamente, AS 8 horas), adicionara 15 miles bilhetes extra AS Vendas globais - E criara I números que o próprio museum of surpreendera. "Planeámo-la para que fosse mais bem sucedi do que de David Bowie [que vendee of 311,956 miles bilhetes] mas receber 490 miles visitantes é mais 100 miles do que o que estávamos espera", disse ao Guardian Tim Reeve, vice-director museum of natural, cuju to exposição the mailer is Sucesso, dedica in Art Deco, vendee to absorb bilhetes 2003 359 499.

"Temos muita experiência com grandes exposições mas não que seria prevíamos assim tão grande", confesso of.

Segundo do it vice-director of the museum, a exposição Savage Beauty deposited at 3 milhões also hope orçamento libras (cerca de 4,2 milhões in euros). "Muito mais do que es una vez já gaston of the museum is alguma NUMA exibição", admit to.

"Estamos absolutamente encantados per quase meio milhão also pessoas sweat visitado Alexander McQueen: Savage Beauty. A exposição que é, estou orgulhoso per string, um das mais imprevísiveis, dramáticas e espectaculares que já encenámos" corroboro Martin Roth, director door musei.

Money marc o fim da exposição in dedica McQueen em Londres, it fotógrafo Nick Knight, que trabalho com o designer, BALANCE SHEET hope curto fashion film que celebra o seu trabalho e A conhecer imagens nunca antes vistas Alexander McQueen.

The villa has housed Helsinki City Museum activities already for more than a century.

Hakasalmi Villa

The attractive empire style Hakasalmi Villa offers changing exhibitions throughout the year. The villa is especially well known for its nostalgic photograph exhibitions.




Procurator and Privy Councillor Carl Johan Walleen had the Hakasalmi Villa built in 1843. The most famous inhabitant of the villa was Walleen’s stepdaughter Aurora Karamzin who had been a lady-in-waiting in Saint Petersburg in her youth and was later known as a wealthy benefactor. The elegant villa is therefore also known as the Karamzin Villa.

The other wing building of the courtyard has an intimate cafe. The museum premises can be rented for private use outside the opening hours.


fonte: @edisonmariotti #edisonmariotti
http://www.helsinginkaupunginmuseo.fi/en/museums/hakasalmi-villa/

Un musée sur la Bible recycle les anciennes statues de cire des stars

Le BibleWalk Museum de Mansfield, dans l'Ohio, propose à ses visiteurs de revivre les plus grands passages de la Bible à travers des statues de cire à l'origine singulière. Celles-ci proviennent en effet d'anciennes répliques en cire de Tom Cruise, John Travolta ou encore du Prince Charles destinées à être détruites.


Les visiteurs du BibleWalk Museum de Mansfield dans l'Ohio risquent de découvrir de troublantes ressemblances entre les personnages bibliques en cire qui peuplent le musée et des visages familiers du ghota et d'Hollywood. Et pour cause : la direction de ce musée, qui a ouvert ses portes en 1983, a eu l'idée originale de récupérer dans le monde entier les statues de cire des célébrités pour les recycler au sein de son établissement.

Ainsi, Tom Cruise porte désormais les traits de Jésus, John Travolta est devenu le Roi Salomon, le Prince Charles représente Abel, le fils assassiné d'Adam et Eve. Steve Mc Queen, Marlon Brandoo, Burt Lancaster, George Harrison et Elizabeth Taylor figurent également dans ce musée qui retrace l'histoire de l'Ancien et du Nouveau Testament.
300 statues dans le musée

Mais pour Julia Mott-Hardin, directrice du musée, pas question de surfer sur cette coutume singulière pour attirer davantage de visiteurs dans son établissement qui accueille 40.000 curieux chaque année. Comme elle l'explique au DailyMail : "J'ai eu des appels de gens qui souhaitent venir à la seule condition que je les accompagne en leur indiquant les différentes personnalités présentes. Mais je refuse. Le musée a pour but de glorifier Dieu et son oeuvre." Et d'ajouter : "Je ne veux pas tirer une gloire quelconque au détriment de Dieu."

Les visiteurs devront donc avoir l'oeil s'ils espèrent reconnaître les différentes personnalités qui se cachent parmi les 300 statues de cires disséminées dans les 70 scènes bibliques exposées dans ce musée américain. Si Julia Mott-Hardin confie qu'ils doivent parfois "customiser" les statues pour que le public ne les reconnaisse pas, elle explique que c'est essentiellement pour une question de coût que le musée récupère ces statues de stars destinées à être détruites. "Les statues coûtent chères. Parfois, leur prix s'élève à hauteur de 10.000 dollars", assure la directrice.


Tom Cruise en Jésus

BibleWalk Museum -

John Travolta en Roi SalomonBibleWalk Museum -

Le Prince Charles est AbelBibleWalk Museum -

Elizabeth Taylor dans la scène du Roi Salomon©

fonte: @edisonmariotti #edisonmariotti http://people.bfmtv.com/cinema/un-musee-sur-la-bible-recycle-les-anciennes-statues-de-cire-des-stars-908595.html