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sábado, 12 de setembro de 2015

Kamianets-Podilskyi (Ukrainian: Кам'янець-Подільський, translit. Kam'ianets'-Podil's’kyi or Kamyanets-Podilsky, Armenian: Կամիանեց-Պոդոլսկի, Polish: Kamieniec Podolski, Romanian Camenița, Russian: Каменец-Подольский, translit. Kamenets-Podolskiy) is a city on the Smotrych River in western Ukraine, to the north-east of Chernivtsi.

Formerly the administrative center of the Khmelnytskyi Oblast, the city is now the administrative center of the Kamianets-Podilskyi Raion (district) within the Khmelnytsky Oblast (province), after the administrative center of the oblast was moved from the city of Kamyanets-Podilsky to the city of Khmelnytskyi in 1941. The city itself is also designated as a separate district within the region.


Several historians consider that a city on this spot was founded by the ancient Dacians, who lived in what is now modern Romania, Moldova, and portions of Ukraine. Historians claim that the founders named the settlement Petridava or Klepidava, which originate from the Greek word petra or the Latin lapis meaning "stone" and the Dacian dava meaning "city".
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Main sights

The different peoples and cultures that have lived in the city have each brought their own culture and architecture. Examples include the Polish, Ukrainian and Armenian markets. Famous tourist attractions include the ancient castle, and the numerous architectural attractions in the city's center, including the cathedral of Saints Peter and Paul, Holy Trinity Church, the city hall building, and the numerous fortifications.

Ballooning activities in the canyon of the Smotrych River have also brought tourists. Since the late 1990s, the city has grown into one of the chief tourist centers of western Ukraine. Annual Cossack Games (Kozatski zabavy) and festivals, which include the open ballooning championship of Ukraine, car racing and various music, art and drama activities, attract an estimated 140,000 tourists and stimulate the local economy. More than a dozen privately owned hotels have recently opened, a large number for a provincial Ukrainian city.

fonte: @edisonmariotti #edisonmariotti
colaboração: Татьяна Сокольская

The Benaki Museum ranks among the major institutions that have enriched the material assets of the Greek state.

It is also the oldest museum in Greece operating as a Foundation under Private Law. Through its extensive collections that cover several different cultural fields and its more general range of activities serving more than one social need, the Benaki Museum is perhaps the sole instance of a complex structure within the broader network of museum foundations in Greece.


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Antonis Benakis, scion of one of the leading families of the Greek diaspora, was born in Alexandria in 1873. He was witness to the vibrant tradition of national benefaction which, from the earliest years of Greek independence, was so clearly manifest amongst the Greek communities abroad.

Benakis began his career as a collector in Alexandria, gradually reaching the decision to donate his collections to the Greek state, an idea which became reality after he settled permanently in Athens in 1926.

The world in which Antonis Benakis moved was shaped in a period when the drive to extend the boundaries of the Greek state was as much an element of contemporary society as the parallel ideologies of urban development and enlightenment through education. Benakis' proverbial generosity towards other cultural institutions and undertakings was indicative of this.

His personality was formed within a family environment which nourished such ideals, and which also fostered the exceptional literary talents of his sister, Penelope Delta (1874-1941), whose stories have been familiar to generations of Greek children.

It is certain that Antonis Benakis, the founder of the Benaki Museum, was also influenced by the example of his father Emmanuel Benakis (1843-1929). A close friend and colleague of the great statesman Eleftherios Venizelos (1864-1936), Emmanuel Benakis placed his fortune at the disposal of numerous charitable foundations and likewise contributed to the settlement of refugees in the aftermath of the catastrophe in Asia Minor.

Within this context, the nature of Antonis Benakis’s benefaction becomes self-evident. Its most salient feature remains the fact that during his own lifetime Benakis donated the museum he created to the Greek state. Of equal importance was his continuous involvement, until his death in 1954, in enriching and improving the organisation of the museum’s holdings, and his role in ensuring its financial security.

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From the very first, the life work of Antonis Benakis met with the whole-hearted support of the Greek public. Well-known collectors, as well as all those who wished to see the past preserved, donated precious works of art to the Museum: family heirlooms, rare books, manuscripts and historical archives, and other important private possessions. In this way they helped to supplement the collections and to ensure the future of the Museum.

The individuals who have bequeathed considerable property to the Museum are in the front ranks of its benefactors; they include Konstantinos Benakis, Eleni Efkleidou, Regina Doanidou, Vera Kouloura, Ismini Petropoulou, Lambros Eftaxias, Alexandra Papadopoulou, Maria Aiyialeidi, Eumenis Lambridis, Fifi Stylianidou, Maria Spentsa, Nikos Hadjikyriakos-Ghikas Mary Carolou and Georgios Koniaris, Yiannis and Alekos Pappas, Alexandros Argyriou, Sir Patrick Leigh Fermor, as well as the Stamatios Dekozis-Vouros, J.F. Costopoulos and Stavros Niarchos Foundations whose financial support has enabled the Museum to expand its exhibition space considerably.

Among the major donors are Alexandra Choremi, George Eumorphopoulos, Christianos Lambikis, Helen Stathatou, Damianos Kyriazis, Demetrios Sicilianos, Marina Lappa-Diomidous, Argini Salvagou, Rena Andreadi, Loukas Benakis, Voula Papaioannou, Stephen Vagliano, Peggy Zoumboulaki, Elli Seraidari (Nelly’s), Chrysoula Xanthoudidou-Koundourou, Sophia Chrysochoidou-Lambridi, Ioanna Loverdou-Vasileiadi, Litsa Papaspyrou, Maria Argyriadi, and countless others whose names are respectfully recorded on the labels accompanying the exhibits. Substantial benefactions have likewise been received from foundations bearing the names of: Eleftherios Venizelos, Panayotis and Effie Michelis, Alexandros S. Onassis, Lilian Voudouris, A.G. Leventis and and John S. Latsis and from banking institutions such as Citibank, the National, Commercial and Ionian Banks, Ergobank, Alpha Bank and the Midland Bank.

The citing of these names in no way overshadows the contributions of so many other donors who almost daily continue to enrich the Museum in a truly moving manner.

The activities of the "Friends of the Benaki Museum" and of the Committee responsible for the production and marketing of articles sold through the Museum Shop likewise make an important contribution to the support and promotion of the Museum’s work.

fonte: @edisonmariotti #edisonmariotti http://www.benaki.gr/
colaboração: Αφροδίτη Διαμαντοπούλου

The Musée de la Femme "Henriette Bathily" in Goree, Senegal is the first museum of its kind in Africa. It will tell you all about the place and role of Senegalese women in the community, in rituals and in popular and traditional arts.

History of Henriette Bathily Museum
The Consortium de Communications Audiovisuelles en Afrique (CCA) believed that museums were places for multifaceted communication about the reference objects of civilization. It wanted to make a contribution to the defence, illustration, preservation, promotion and dissemination of Senegal’s cultural heritage and thus took the initiative to establish a Senegalese women’s museum. The CCA named the museum after Henriette Bathily, a well-known communicator and figure in the world of culture.



Annette Mbaye d’Erneville, Director of the CCA, Adama Cissé Wélé and the filmmaker Ousmane William Mbaye, supported by the Senegalese government, the Embassy of Canada and a number of Senegalese, African and foreign partner organizations helped to make the Musée de la Femme "Henriette Bathily" a reality. It is the first museum of its kind in Africa

Located on the island of Gorée, at the corner of Saint-Germain and Malavois Streets, the Musée de la Femme "Henriette Bathily" has occupied a house built in 1777 by a rich "signare", Victoria Albis, since its inauguration on June 17, 1994.



"We have to paint things about Senegal, about life here, about our customs and the way we dress. People from Mali have to draw what they find in Mali and it is the same case for Togo. I do not want to go beyond our border. French paintings, Napoleon, chateaux, those aren’t Senegalese things", said glass painter Gora Mbengue as reported by Michel Renaudeau and Michèle Strobel (1984) in "Peinture sous verre du Sénégal" (Glass Painting in Senegal).

Glass painting is also called glass pictures (or "souwère" in Wolof) because the medium of this work is glass. The paintings are done on the glass itself but are viewed against the light, through the glass and under the glass. 

This painting technique originated in the East and appeared in Senegal with the arrival of Islam. It soon developed in old communities like Saint Louis, Rufisque and Dakar before moving on to all the urban centres that have the materials artists need to produce their works: glass, India ink, paint, brushes, solvent or thinner, cardboard and adhesive paper. 

A two- to three-millimetre thick piece of glass is first cleaned.

The drawing is made directly on the glass with pen and India ink. Some artists use very fine brushes and black paint. The drawing may be done from imagination or transferred from a sketch.

Signatures and captions are written on the back (mirror writing) because the glass is displayed in reverse. It should be noted that the first "souwériste" painters neither signed nor dated their work.

Then the paint is applied. In contrast to classical painting technique, glass painting starts with the detail and ends with the background. Because the painting is seen "under glass", the details will appear on the surface and are thus must be the first to be painted. Oil paints thinned with solvent or synthetic thinner are used.

After being dried in the shade, paintings then are placed on a cardboard background on which several cotton strands are wound and then looped to form hangers. The cardboard is cut to the same dimensions as the glass and is attached with a strip of double-sided adhesive paper that sticks to the edges of the glass and the edges of the cardboard at 

The traditional subjects of glass painters are of Muslim origin and represent religious subjects (Noah’s ark, Adam and Eve, the sacrifice of Abraham...) and religious heads and founders of brotherhoods (Sheik Amadou Bamba, El Hadj Malick Sy, Saydina Issa Laya...).

Painters also illustrate popular stories like the traditional ones transmitted orally by "griots" (lion hunts, the punishment of the bad husband, genies...).

Also depicted are scenes of everyday life sketched simply in a naive style (a mother nursing her baby, a boxing match, a Koranic school, a thief caught by a policeman, AIDS, polygamy...).

Portraits of women, families and couples in their best outfits also feature in glass pictures.

Some glass pictures are only for decoration (wild or domestic animals, multicoloured birds, flowers...).

For some years now, glass pictures have hung in many houses, introducing artistic and decorative touches and conveying simple messages in an educational, humorous or satiric way within the family about aspects of daily life. These naive representations recall the images of Epinal in France.

fonte: @edisonmariotti#edisonmariotti http://www.virtualmuseum.ca/edu/ViewLoitLo.do%3bjsessionid=C108770831568A1190E59E30AB465852?method=preview&lang=EN&id=11233



The learner will:
describe The Musée de la Femme "Henriette Bathily" , Senegal and its glass painting collection;
describe the technique of glass painting and traditional themes;
describe the role of glass painting in Senegal’s culture;
describe the history of glass painting in Senegal.

Museu do Café, em Campinas, São Paulo, Brasil, é reaberto ao público com programação de música

Neste domingo (13-09-2015), às 10h, o espaço cultural recebe o músico campineiro Paulinho de Almeida no 1º "Café com Arte", projeto que irá ocorrer todo mês no local, No mesmo dia começa o projeto “Café com Arte”, com apresentações artísticas em todo terceiro domingo do mês, na praça em frente ao casarão do Museu. A entrada é gratuita e o museu passa a ficar aberto de terça a domingo, das 10h às 16h.



A primeira edição do "Café com Arte" contará com o show de lançamento do CD “Trilhas na Cidade - Paulinho de Almeida”. O músico de Campinas comanda o violão, guitarra, viola caipira e estará acompanhado de Rômulo de Oliveira (flauta e saxofone), Leonardo Keppke (guitarra), Chico Martins (contrabaixo) e Alexandre Cunha (bateria). O projeto foi contemplado pelo Fundo de Investimentos Culturais de Campinas (Ficc), da Secretaria Municipal de Cultura.

“Todos os anos, cerca de 25% a 30% dos projetos do FICC são de música. Destes, mais de 80% são de música instrumental contemporânea, o que mostra a vitalidade desta produção artística na cidade. A proposta é que o Museu do Café, com o programa 'Café com Arte' seja um espaço permanente para esse tipo de música”, comenta o diretor de Cultura, Gabriel Rapassi.

A proposta da prefeitura é tornar o museu um espaço para a divulgação e propulsão das artes, com destaque para a música contemporânea e instrumental como choro, jazz, blues, entre outros, mas também com espaço para outras artes, como teatro, danças e outras intervenções. 

Mais sobre o show e o músico

O multi-instrumentista e compositor Paulinho de Almeida apresenta o CD de música instrumental produzido no Brasil e na Alemanha, país onde viveu alguns anos. Todas as composições e arranjos são de autoria do artista e a produção contou com a participação de conceituados músicos e técnicos de várias nacionalidades.

O CD traz uma viagem musical repleta de impressões como uma trilha sonora de um filme imaginário, reúne estilos musicais como regional, erudito, rock e eletrônica.

O músico Paulinho de Almeida já dirigiu vários grupos de jazz, rock, world e de música latina, apresentando-se em 14 países. Produziu CDs, festivais e eventos para bandas de rock, hip hop e crossover. Como compositor, trabalha em trilhas para TV, teatro e espetáculos de dança.


Histórico
O Lago do Café ficou fechado de outubro de 2008 a maio de 2013, após as mortes de três funcionários contaminados por febre maculosa, doença transmitida pelo carrapto-estrela que tem como hospedeiro a capivara, animal que vivia no parque. O Museu do Café permaneceu fechado e foi reaberto em abril deste ano para atender a grupos em oficinas e outras atividades. O museu passou por reparos em hidráulica, manutenção das telhas e pintura de algumas paredes para voltar a receber o público em geral.

fonte: @edisonmariotti #edisonmariotti http://www.campinas.com.br/cultura/2015/09/museu-do-cafe-em-campinas-e-reaberto-ao-publico-com-programacao-de-musica

Serviço:
Música: “Café com Arte”
Local: Museu do Café - Lago do Café. Av. Heitor Penteado, 2145, Parque Taquaral - Campinas
Data: 13 setembro
Horário: às 10h
Entrada: gratuita

Three museums – the National Museum Zurich, the Castle of Prangins and the Forum of Swiss History Schwyz – as well as the collections centre in Affoltern am Albis – are united under the umbrella of the Swiss National Museum (SNM).

The permanent exhibitions at the museums present Swiss history from its beginnings to the present, and give an insight into Swiss identities and the rich tapestry of our country’s history and culture. Temporary exhibitions on current topics add to the experience. The SNM is also responsible for curating the Guild House ‘Zur Meisen’ Zurich and the Museo doganale Cantine di Gandria.

LANDESMUSEUM ZÜRICH

The highlights of the archaeological collection are back in Zurich.
First established back in the 19th century, this exceptional
 collection spans the millennia, from 100,000 BC to 800 AD:
from the Palaeolithic Era to the Early Middle Ages.
It is also unique in Switzerland in that it illustrates
the archaeology of all the country's regions.


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The picture archive contains more than 400,000 images that are used throughout the world not only in scientific publications and catalogues, but also in exhibitions and the media. Around 3,000 new images are added each year. Orders should include specific details regarding the required image(s) and intended purpose. Fees apply for our services and the purchase of utilisation rights.
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History
The 19th century is generally regarded as the century of nations and nation states. While other countries were busily erecting memorials, monuments and institutions, though, the young federal state of Switzerland struggled with the idea of setting up a national museum. Plans to create one met with widespread scepticism, and there were also entirely pragmatic reasons for rejecting the enterprise. The country’s neighbours already had something to put in their museums, in the form of a ducal, royal or imperial collection; Switzerland had nothing comparable. Almost every one of the 25 cantons had its own collection based on old armoury collections and cabinets of curiosities, reflecting the federal character of the young state. It was National Council member Salomon Vögelin of Zurich who, with his motion of 9 July 1883, launched discussion on the founding of a national museum. Encouraged by the popularity of the national art exhibition organised as part of the Swiss national exhibition in Zurich, he submitted his proposal to the Federal Council. 

After much wrangling over the proposed site of the Swiss National Museum, Zurich finally won through in 1891, seeing off its rivals Lucerne, Basel and Bern. The young architect Gustav Gull drew on various historicising architectural features from the late medieval period and the modern era, combining them to create a single whole. The design of the Swiss National Museum was intended to express a unity between collection, exhibition and architecture. It was also combined with a school of art, thereby satisfying a further important requirement of the era: having both institutions side by side, allowing the past to act as an example and an inspiration for the work of students. Today, the National Museum Zurich is regarded as one of the outstanding 19th-century constructions of its type, and an architectural monument of national importance.

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Le travail en photo au Musée national de Zurich

Le Musée national de Zurich se penche sur le monde du travail. Sa nouvelle exposition "Le travail. Photographies 1860-2015" est à voir à partir de vendredi jusqu'au 3 janvier.

A l'entrée de l'exposition, il y a une femme de chambre du Beau-Rivage Palace de Lausanne en 1865. A l'autre bout de la salle, les bureaux de recherche et développement de Google à Zurich en 2008. Entre les deux, quelque 150 ans d'histoire du travail mais aussi de la photographie.

Au cours d'un énorme projet d'archivage des fonds photographiques du Musée national suisse, les organisateurs de l'exposition ont sélectionné un millier de clichés consacrés au travail, a expliqué aux médias mercredi le curateur Dario Donati. Une centaine sont montrés à Zurich.

La salle principale présente un survol chronologique du sujet. Cette chronique met par exemple en évidence la transition d'un monde d'agriculteurs vers un monde d'employés ou encore le remplacement des ateliers par des usines.

Du "ramoneur type" au "selfie"

De cette vue d'ensemble ressort aussi l'évolution du travail du photographe. Au 19e siècle, il représentait des images typiques de certains métiers, comme le "ramoneur type" ou la "paysanne type", souligne M. Donati.

Les sujets devaient poser à cause des temps d'exposition très longs. A partir de 1910, la technique permet de s'intéresser davantage aux activités en elles-mêmes.

Les photographes de presse, quant à eux, s'intéressent à l'inédit, au particulier, comme l'inauguration d'une filiale de la Coop ou la première femme maçonne de Suisse (1973). Et en 2015, les photos sont devenues des "selfies". Une installation montre des photos envoyées par le public sous le hashtag "#LMZtravail".

Dans le contexte

Si les photos montrées dans la salle principale sont des reproductions, un choix de tirages originaux est présenté dans une salle plus petite, à l'abri de la lumière. Elle permet de voir dans quel contexte les clichés étaient présentés, certains sous forme de carte postale ou encore dans des albums.

Dans une autre salle, des reportages de presse réalisés dans les années 1940-50 pour des hebdomadaires illustrés sont présentés sous forme de films. Le Musée national détenant les archives des agences Presse Diffusion Lausanne (PDL) et Actualité Suisse Lausanne (ASL), de nombreux clichés de la Suisse romande sont montrés à Zurich.

Enfin, l'exposition se termine sur des projets contemporains. La série "Poste mon Amour" du Jurassien Jean-Luc Cramatte en fait partie. Le photographe y présente un inventaire de 150 bureaux de poste romands, dont certains ont fermé depuis.

fonte: @edisonmariotti #edisonmariotti www.nationalmuseum.ch/f/