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domingo, 13 de setembro de 2015

Основная тема экспозиции Литературного музея "А. М. Горький и родной Экпозиция ''А. М. Горький и нижегородская культура конца XIX -- The main theme of literary museum "Gorky and native Ekpozitsiya 'Gorky Nizhny Novgorod and culture of the late XIX -- O tema principal do museu literário "Gorky e nativo Ekpozitsiya 'Gorky Nizhny Novgorod e cultura XIX

начала XX века'' город" раскрывает многообразие связей писателя с Нижним Новгородом, его историей, событиями, людьми.



Рядом с горьковскими представлены материалы о жизни и деятельности в Нижнем Новгороде поэтов и писателей А. Д. Мысовской, Л. Г. Граве, В. Г. Короленко, И. С. Рукавишникова, Каминный зал Литературного музея фотографов А. О. Карелина и М. П. Дмитриева, музыканта В. Ю. Виллуана и других деятелей культуры.



Экспозиция музея тактично вписывается в интерьеры старинного особняка, построенного в 1882 году архитектором Н. Д. Григорьевым для нижегородской купчихи В. М. Бурмистровой из богатейшего рода Парадная лестница Литературного музея Рукавишниковых. Дом построен в эклектическом стиле по типу дворянских особняков, с анфиладным расположением комнат. Его интерьеры поражают великолепием убранства: затейливыми лепными потолками, искусно декорированными стенами, деревянной мозаикой. Широкая мраморная лестница ведет в небольшой аванзал второго этажа, откуда и начинается экспозиция.


В первых двух залах представлена тема "А. М. Горький и нижегородская культура конца Х1Х - начала ХХ века", показана литературная, театральная, музыкальная жизнь города, свидетелем которой был молодой А. Пешков, впоследствии ставший писателем М. Горьким. Каждый комплекс выполнен в виде музейного натюрморта, из разнородных предметов: фотографий и вещей нижегородцев второй половины Х1Х - начала ХХ столетий.

Экспозиция ''П. И. Мельников-Печерский и его роман ''В лесах'' Здесь портреты писателей-предшественников и заочных учителей А. М. Горького, живших в нашем городе и отразивших его жизнь в своем творчестве: Владимира Ивановича Даля, Петра Дмитриевича Боборыкина и Павла Ивановича Мельникова-Печерского, которому посвящен отдельный зал. В интерьере рабочего кабинета писателя воссоздана обстановка, в которой рождались образы романа "В лесах" о жизни заволжских старообрядцев. Портреты героев романа представлены работами П. М. Боклевского - современника и друга П. И. Мельникова. Они были подарены в 1930 г. нашему музею А. М. Горьким.

Особый интерес вызовут фотографии М. П. Дмитриева, запечатлевшего старообрядческие скиты и их обитателей.

Продолжение экспозиции Литературного музя
История создания Литературного музея

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"Знать обстоятельства жизни Горького --
первое условие понимания его книг..."
Георг Брандес 
Литературный музей Музей-квартира Домик Каширина 

Литературный музей в Нижнем Новгороде (ул. Минина, 26) Мемориальный Музей-квартира А.М.Горького (ул. Семашко, 19) Музей детства А.М.Горького "Домик Каширина" (Почтовый съезд, 21) 

Особой популярностью у нижегородцев и гостей города пользуется Музей детства А.М.Горького "Домик Каширина" - своеобразный музей одного произведения. Автобиографическая повесть А.М.Горького "Детство" признана сегодня одним из выдающихся произведений мировой литературы ХХ в., "вечной русской книгой" (Д.Мережковский), своеобразной энциклопедией русского национального характера и образа жизни. 

В мемориальном Музее-квартире А.М.Горького воссозданы интерьеры последней нижегородской квартиры писателя. Здесь Горький завершил работу над пьесой "На дне", переживал, по словам К.Станиславского, "потрясающий успех" после ее постановок в России и Европе; им сделаны были первые наброски к повести "Мать", написана поэма "Человек", обдумывалась пьеса "Дачники". В начале ХХ века квартиру А.М. Горького современники называли "Горьковской академией". 

Экспозиция Литературного музея посвящена культурной и литературной жизни Нижнего Новгорода, "кармана России", в конце XIX - начале ХХ веков. Видное место в ней занимали М. Горький (А.М. Пешков), П.И.Мельников (Андрей Печерский), В.Г.Короленко, И.Рукавишников (здание музея - место действия его романа "Проклятый род"), Л.Граве; фотографы-художники А.О.Карелин и М.П.Дмитриев, музыкант В.Ю.Виллуан. Ведущая тема экспозиции: "М.Горький и Нижний Новгород". 

В Нижнем Новгороде сохранились до наших дней памятные мемориальные "горьковские места", связанные с жизнью и творчеством А.М.Горького, без которых невозможно представление о Нижнем Новгороде "эпохи Горького", запечатлевшего облик города на страницах своих произведений, получивших всемирное признание.


fonte: @edisonmariotti #edisonmariotti http://www.museums.unn.ru/danco/expos/lm.shtml


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The main theme of literary museum "Gorky and native Ekpozitsiya 'Gorky Nizhny Novgorod and culture of the late XIX

 - Early XX century '' City "reveals the diversity of connections writer with Nizhny Novgorod, its history, events, people.

Close to Gorky presented materials about the life and activity of the Nizhny Novgorod poets and writers AD Mysovskaya, LG Grave, VG Korolenko, I. Rukavishnikov, Fireplace room Literature Museum photographers AO Karelin and MP Dmitriev, V. Yu Villuana musicians and other cultural workers.

The museum exposition discreetly into the interior of an old mansion, built in 1882 by architect ND Grigoriev for the Nizhny Novgorod merchant VM Burmistrova of the richest kind of grand staircase Literary Museum Rukavishnikov. The house was built in eclectic style by the type of aristocratic mansions, with enfilade arrangement of rooms. Its interiors are striking splendor of decoration: intricate stucco ceilings, elaborately decorated walls, wooden mosaic. A wide marble staircase leads to a small ante-room of the second floor, where the exhibition begins.

In the first two halls presented the theme of "Gorky culture and Nizhny Novgorod late 1 - early XX century", shows a literary, theatrical, musical life of the city, which was a young witness A. Peshkov, who later became a writer Maxim Gorky. Each set is designed as a museum still life, from disparate objects: photographs and items of Nizhny Novgorod second half H1H - early XX centuries.

The exposition '' P. Melnikov-Pechersky and his novel '' In the woods '' where portraits of writers and indirect predecessors teachers Gorky, who lived in our city, and to reflect his life in his work: Vladimir Ivanovich Dal, D. Peter and Paul Ivanovich Boborykin Melnikov Crypt, which is dedicated to a separate room. The interior of the working cabinet of the writer recreates the environment in which the images were born novel "In the Woods" about the life of the Volga Old Believers. Portraits of the heroes of the novel presents the works of P. Boklevskogo - contemporary and friend Melnikov. They were donated in 1930, our museum Gorky.

Of particular interest will photograph MP Dmitriev, depicting Old Believer monasteries and their inhabitants.

Continued exposure Literary Muzyaev

History of the Literary Museum

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"To know the circumstances of Gorky -

the first condition of understanding of his books ... "

Georg Brandes

Literary Museum Apartment Museum House Kashirina

Literary Museum in Nizhny Novgorod (str. Minin, 26) Memorial Apartment Museum of Gorky (Semashko str., 19) Museum of Childhood Gorky "House Kashirina" (Postal Congress, 21)

Especially popular among the residents of Nizhny Novgorod and guests enjoyed the Museum of Childhood Gorky "Kashirina House" - a kind of a museum piece. Gorky autobiographical novel "Childhood" is recognized today one of the greatest works of world literature of the twentieth century. "Eternal Russian book" (D. Merezhkovsky), a kind of encyclopedia of Russian national character and way of life.

The memorial museum-apartment recreates the interior of Gorky Nizhny Novgorod last apartment of the writer. There Gorky completed work on the play "The Lower Depths", experienced, according to Stanislavsky, "a great success" after her performances in Russia and Europe; they were made the first sketches for the story "Mother", written the poem "The Man", he ponders the play "Summer Folk". In the early twentieth century apartment AM Gorky's contemporaries called "Gorky Academy."

A literary museum dedicated to the cultural and literary life in Nizhny Novgorod, "a pocket of Russia" at the end of XIX - early XX centuries. Prominent in it occupied Gorky (Peshkov AM) P.I.Melnikov (Andrew Caves), VG Korolenko, I.Rukavishnikov (museum building - the scene of his novel "The damned race"), A .Grave; photographers and artists A.O.Karelin M.P.Dmitriev musician V.Yu.Villuan. The leading theme of the exhibition: "Gorky, and Nizhny Novgorod."

In Nizhny Novgorod survived commemorative memorial "Gorky's place", connected with the life and work of Gorky, which are essential for understanding of the Nizhny Novgorod "era Gorky", depicting the city's appearance in the pages of his works have received international recognition.




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O tema principal do museu literário "Gorky e nativo Ekpozitsiya 'Gorky Nizhny Novgorod e cultura XIX

 - Início do século XX '' City "revela a diversidade de conexões escritor com Nizhny Novgorod, a sua história, eventos, pessoas.

Perto de Gorky apresentados materiais sobre a vida ea atividade do Nizhny Novgorod poetas e escritores AD Mysovskaya, LG sepultura, VG Korolenko, I. Rukavishnikov, sala de lareira fotógrafos Museu de Literatura AO Karelin e MP Dmitriev, V. Yu Villuana músicos e outros trabalhadores culturais.

A exposição do museu discretamente para o interior de uma mansão antiga, construída em 1882 pelo arquiteto ND Grigoriev para o comerciante Nizhny Novgorod VM Burmistrova do tipo mais rico de grande escadaria Museu Literário Rukavishnikov. A casa foi construída em estilo eclético pelo tipo de mansões aristocráticas, com arranjo fila de salas. Os seus interiores são impressionantes esplendor da decoração: tectos de estuque intrincado, paredes elaboradamente decoradas, mosaico de madeira. Uma ampla escadaria de mármore leva a uma pequena ante-sala do segundo andar, onde a exposição começa.

Nos dois primeiros salões apresentou o tema da "cultura Gorky e Nizhny Novgorod final 1 - início do século XX", mostra um teatral vida literária, musical da cidade, que era uma jovem testemunha A. Peshkov, que mais tarde tornou-se um escritor Maxim Gorky. Cada conjunto é concebido como um museu a vida continua, a partir de objetos díspares: fotografias e itens de Nizhny Novgorod segunda metade H1H - séculos XX iniciais.

A exposição '' P. Melnikov-Pechersky e seu romance '' Nos bosques '' onde os retratos de escritores e professores antecessores indiretos Gorky, que viveu em nossa cidade, e para refletir sua vida em seu trabalho: Vladimir Ivanovich Dal, D. Pedro e Paulo Ivanovich Boborykin Melnikov Crypt, que é dedicado a uma sala separada. O interior do gabinete de trabalho do escritor recria o ambiente em que as imagens foram nascido romance "In the Woods" sobre a vida do Volga Velhos Crentes. Retratos dos heróis do romance apresenta as obras de P. Boklevskogo - contemporâneo e amigo Melnikov. Eles foram doadas em 1930, o nosso museu Gorky.

De particular interesse vai fotografar MP Dmitriev, descrevendo mosteiros Velho Crente e seus habitantes.

A exposição contínua Literary Muzyaev

História do Museu Literário

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"Para conhecer as circunstâncias de Gorky -

a primeira condição de compreensão de seus livros ... "

Georg Brandes

Literary Museum Apartment Museum House Kashirina

Museu Literário em Nizhny Novgorod (str. Minin, 26) Memorial Apartment Museum of Gorky (Semashko str., 19) Museum of Childhood Gorky "Casa Kashirina" (Congresso Postal, 21)

Especialmente popular entre os moradores de Nizhny Novgorod e convidados apreciaram o Museum of Childhood Gorky "Kashirina House" - uma espécie de uma peça de museu. Gorky romance autobiográfico "Infância" é reconhecido hoje uma das maiores obras da literatura mundial do século XX. "Livro Eterno russo" (D. Merezhkovsky), uma espécie de enciclopédia de caráter nacional russo e modo de vida.

O memorial museu ao apartamento recria o interior de Gorky Nizhny Novgorod último apartamento do escritor. Há Gorky concluídos os trabalhos sobre a peça "The Lower Depths", experiente, de acordo com Stanislavsky, "um grande sucesso", depois de suas performances na Rússia e na Europa; eles foram feitos os primeiros esboços para a história "Mãe", escreveu o poema "O homem", pondera o jogo "Summer Folk". No início do século XX apartamento AM Os contemporâneos de Gorky chamado "Gorky Academia."

Um museu literário dedicado à vida cultural e literária em Nizhny Novgorod, "um bolso da Rússia" no final do XIX - XX séculos mais cedo. Proeminente em que ocupou Gorky (Peshkov AM) P.I.Melnikov (Andrew Caves), VG Korolenko, I.Rukavishnikov (edifício do museu - a cena de seu romance "A raça maldita"), A .Grave; fotógrafos e artistas A.O.Karelin M.P.Dmitriev músico V.Yu.Villuan. O tema principal da exposição: "Gorky, e Nizhny Novgorod."

Em Nizhny Novgorod sobreviveu memorial comemorativo "lugar de Gorky", ligado com a vida ea obra de Gorky, que são essenciais para a compreensão do Nizhny Novgorod "era Gorky", que descreve a aparência da cidade nas páginas de suas obras têm recebido reconhecimento internacional.

Technisches Denkmal und Museum "Neue Mühle" -- Technical monument and museum "New Mill"

Technisches Denkmal und Museum "Neue Mühle"


Inmitten des alten Stadtkerns von Erfurt, unweit des Rathauses und malerisch am Fluss Gera gelegen, befindet sich die "Neue Mühle" - ein attraktiver Gesamtkomplex von mittelalterlicher Vermahlungstechnik bis hin zu den Anfängen der Industriemüllerei im 19./ 20. Jahrhundert.

Auf vier Etagen sind Mahl- (Walzenstühle), Sieb- (Plansichter) und Reinigungsmaschinen (z. B. Trieur), Transporttechnik (Elevatoren), Lagerbehältnisse und entsprechendes Werkzeug der Müller und ihrer Gesellen zu sehen. Originale Gebrauchs- und Abnutzungsspuren lassen die körperlichen Anstrengungen bei der schweren Arbeit in der Mühle erahnen.

Im Erdgeschoss mit dem überdachten Wasserradhaus und dem 1896 eingebautem Zuppinger-Rad (benannt nach einem Schweizer Ingenieur) befinden sich neben einer Mehlabsackanlage, der eindrucksvolle Antrieb und die Kraftübertragung, das sogenannte Vorgelege. Mächtige Wellen und Kammräder aus Hartholz - deren Schmierung übrigens auch jetzt noch mit Bienenwachs erfolgt - übertrugen die Energie der Drehung auf die Transmissionsanlage mit den Riemenscheiben und Lederriemen. Etwa 3.000 Liter Wasser in der Sekunde waren vonnöten, um die gesamte Mühlentechnik in Bewegung zu bringen.

Der in der Mühle noch vorhandene spätmittelalterliche Schrotgang kann leider auf Grund der hohen Abnutzung nur noch an einigen Tagen im Jahr laufen und zugleich werden den Museumsgästen der Mahlvorgang und die einzelnen Arbeitsschritte mit praktischer Vorführung erläutert. 

Das dabei entstehende Schrot wird dann als Futter an den Thüringer Zoopark oder andere Interessenten abgegeben.

Heute, da die alte Technik nicht mehr gebraucht bzw. nur noch zu besonderen Anlässen in Gang gesetzt wird, nutzt das Mühlenmuseum seit 1996 die nach wie vor vorhandene Wasserkraft für die alternative Energieerzeugung: Wasserrad und Turbine mit etwa einer Gesamtleistung von ca. 30 PS erzeugen Strom, der sowohl in der Mühle selbst verbraucht als auch an die Stadtwerke Erfurt verkauft wird. Auf einem Schema kann diese regenerative Energieerzeugung anschaulich und verständlich verfolgt werden. 

Die Dauerausstellung in der "Neuen Mühle" wird vervollständigt durch einen Sonderausstellungsbereich im geräumigen ehemaligen Mehllager. Dort findet man Funktionsmodelle von Mühlen, einen Lastenaufzug, der nur durch Wasserkraft auf- und abwärts bewegt wird sowie diverse technische Geräte und Maschinen aus Thüringer Mühlen.

Thematisch wechselnde Sonderausstellungen zur Mühlengeschichte Erfurts und anderer Regionen wie auch junge Kunst sind Schwerpunkte der Ausstellungstätigkeit im Mühlenmuseum.

Beim Rundgang auf der Außenanlage der Mühle (Freischleuse, Grobrechen, Fischtreppe) kann der aufmerksame Gast mit etwas Glück den wieder entstandenen Fischreichtum im Fluss mit seinen durchaus ansehenswerten Exemplaren beobachten. 

Seit 1999 kann man durch eine Großverglasung in das Wasserradhaus der Neuen Mühle blicken. Ende Dezember 2006 wurde das 111Jahre alte Zuppinger - Wasserrad umfassend rekonstruiert. Starker Algen- und Moosbefall machten dies notwendig. 

Die Besucher und Gäste der "Neuen Mühle" werden fachkundig bei den stündlichen Führungen über die vier Etagen des Hauses begleitet und können sich so vor Ort ein reales Bild einer ehemaligen Handwerkermühle machen oder auch Mühlenromantik pur erleben.

Die "Neue Mühle" ist ein Beispiel deutscher Mühlenbaukunst und ingenieurtechnischer Leistung. Sie zählt neben der Heiligen Mühle im Norden Erfurts zu den beiden letzten funktionstüchtig erhaltenen Mühlen. Es sind über 60 Mühlenstandorte im alten Stadtgebiet bekannt.

fonte: @edisonmariotti #edisonmariotti
http://www.stadtmuseum-erfurt.de/muehle/museum.html


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Technical monument and museum "New Mill"

Surrounded by the old town center of Erfurt, near the town hall and picturesquely situated on the River Gera, is the "New Mill" - an attractive total complex of medieval Vermahlungstechnik to the beginnings of the 19th Industriemüllerei / 20th century.

On four floors are seen milling (roller mills) Screeners (plansifter) and cleaning machinery (z. B. Cleaner), transport equipment (elevators), storage containers and corresponding tool of Müller and her companions. Original Operating and scuffs let the physical effort in the heavy work in the mill guess.

On the ground floor with covered Wasserradhaus and the 1896 incorporating Zuppinger wheel (named after a Swiss engineer) are located next to a Mehlabsackanlage, the impressive drive and power transmission, the so-called countershaft. Powerful waves and comb wheels made of hardwood - the way even now carried their lubrication with beeswax - transferred the energy of rotation to the transmission system with the pulleys and leather straps. Approximately 3,000 liters of water per second were necessary to bring the entire mill technology in motion.

The mill in the still existing late medieval shot transition is unable to run due to the high wear only a few days a year and at the same time the museum guests the milling process and the individual steps are explained with practical demonstration.

The resulting meal is then delivered as a feed to the Thuringian zoo park or other interested parties.

Today, as the old technology no longer needed or is set only on special occasions in transition, use the mill museum since 1996, the still existing hydropower for alternative energy production: water wheel and turbine with about a total output of about 30 hp produce stream both in the mill itself consumes as is also sold to Stadtwerke Erfurt. On a scheme this regenerative energy can be traced clear and comprehensible.

The permanent exhibition in the "new mill" is completed by a special area in the spacious former flour warehouse. There you will find functional models of mills, a freight elevator, the only up by hydropower and is moved downward as well as various equipment and machinery from Thüringer mills.

Thematically changing special to the mill history of Erfurt and other regions as well as young artists are focal points of the exhibition activity in Mill Museum.

A tour on the grounds of the mill (free lock, coarse screens, fish ladder) allowing guest can observe the abundance of fish in the river again incurred with its view quite cheap copies with little luck.

Since 1999, you can look in the Wasserradhaus the new mill by a large glazing. End of December 2006 was the 111Jahre old Zuppinger - waterwheel reconstructed comprehensively. Strong algae and moss made this necessary.

The visitors and guests of the "new mill" are accompanied professionally in the hourly tours of the four floors of the house, allowing them to make the spot a real image of a cobbled side mill or mill also experience pure romance.

The 'New Mill "is an example of German mill architecture and engineering performance. There is next to the mill in the north of Erfurt to Holy the last two functional obtained mills. There are known more than 60 mill sites in the old city area.

Museum of Georgia - The museum currently houses a unique collection of natural and human history, with animal remains dating back 40 million years, and rich archaeological and ethnographic collections from the Paleolithic, Neolithic, Bronze, Iron and Middle Ages.

The origins of the Museum of Georgia stem from the foundation of the Russian Royal Geographic Society's Museum of the Caucasian Department on May 10, 1852. In 1865, the Museum of the Caucasus was established as part of the aforementioned department, on the initiative of Gustav Rade. The first exhibition was held in 1867. In 1881, the Museum of the Caucasus took an active part in the fifth international congress of archeologists, held in Tbilisi. In 1919, the museum was renamed the Georgian Museum. 



In February, 1921, the Georgian Menshevik government made a decision to relocate state treasures from Georgian museums and churches out of Tbilisi, due to Bolshevik aggression towards Georgia. The treasure was first moved to Kutaisi and then to Batumi, but was eventually packed in 248 boxes and tranported to France. In spite of great obstacles, the famous Georgian public figure, Ekvtime Takaishvili, preserved and safely returned these treasures to Georgia at the close of the Second World War. 

After the Soviet occupation, a new stage of museum development began. In this period, the scale of scientific research increased markedly, and unique expeditions were held under the auspices of the state-supported museum. Since 1947, the museum has been known as the Simon Janashia museum. Due to tense political situations occurring before and after Georgia's independence from Soviet rule, the museum had to operate extremely carefully in order to protect its collections.

In 2004, the museum was incorporated into the Georgian National Museum complex. Today, the museum has carried out significant reforms in the pursuit of setting modern standards for the preservation and exhibition of Georgian heritage.

The museum has been under renovation for several years, and in June 2011, one part of the museum's exhibition halls reopened to the public. Currently, you can enjoy the permanent exhibition "The Archaeological Treasury" and temporary exhibitions held periodically at the museum.


fonte: @edisonmariotti #edisonmariotti http://museum.ge/index.php?lang_id=ENG&sec_id=44
colaboração: 
Irma Arevadze

MUSEOS Y GENERACIÓN GOLPEADA -- · en CULTURA, GESTIÓN,INSTITUCIONES, MUSEO, OPINIÓN. ·

Son muchas dificultades las que los jóvenes encuentran en el camino de la supervivencia post-universidad, una ruta repleta de malas zancadillas – estamos mirando a España y a otros muchos países del mundo -. Esta es una situación, por ser tan dura para muchos, casi todos, que termina por apagar el espíritu de la ilusión, el espíritu creativo, contestatario y rebelde que se necesita para salir adelante, para sobrevivir sin heridas de gravedad en el ánimo y sin que la inocencia se vea totalmente machacada. Los jóvenes sueñan con poder mantener su inestable y precario equilibrio “con lo que salga”, guardando sus ilusiones en cajones que podrían quedar lastimosamente cerrados para siempre. No hay derecho.


Esta es la situación que inmoviliza, el miedo está presente de continuo, la intranquilidad de que esta situación se prolongue sine die, convirtiéndose en el freno de sus sueños e ilusiones, cuando están en la edad de viajar con la mente, de generar utopías sabiendo que lo son, de crear mundos y poder vivir en ellos con tranquilidad. No hay derecho.

Likes

Debemos ayudar, trabajando para que aquellos que temen cada instante de sus vidas, debemos trabajar para que podamos construir valor con ellos. Debemos luchar educando a una generación lejana, ausente, con sus propios códigos de ilusión, algunos que resultan realmente crípticos para nosotros los ya talluditos. Cómo acercarnos a ese espacio emocional es uno de nuestros retos planteados desde hace mucho tiempo, es problema que debemos resolver.


Este es uno de los mayores desafíos para el universo de los museos. El modo de mostrar es el vértice dónde confluyen muchas variables que pueden indicarnos que dirección seguir para generar encuentros. Crea estímulos allí dónde encontremos a un joven / jóvenes con visos de estar prestando atención a algo. Una de las claves de la supervivencia d los museos es saber qué contar, cómo narrar, cómo llegar a todos pero siendo útiles además, intentando contagiar ilusiones, motivando y apoyando.


Lo hemos visto a lo largo de la historia de la humanidad, en esos tiempos en los que la comunidad ha sido dirigida por incompetentes, por gente sin el menor atisbo de compasión, sin solidaridad bajo el régimen del absoluto y entregado amor al dinero insolidario. Los reveses materiales por decirlo de una manera menos vehemente, son las que hacen del conocimiento y el saber algo imprescindible para sacar echo y luchar contra la injusticia. La cultura es la única medicina contra la estupidez, algo obvio, pero no tanto si observamos como funciona esa estupidez mezclada con maldad, una combinación letal contra el pueblo y que tiene mala solución salvo que los que luchemos en contra seamos realmente personas.

Red Design

Se puede cuestionar el papel de los museos por haberse vuelto tan comerciales, alejándose de sus responsabilidades formativas y del diálogo social. Ocio y cultura no son conceptos antagónicos en absoluto, la experiencia muestra que ambos ingredientes sociales deberían facilitarnos el camino para el aprendizaje de la convivencia, soñando y disfrutando. Si observamos al museo como un espacio físico, podemos entender que es un fósil, carente de brisas estimulantes. Si lo concebimos como un espacio emocional, las posibilidades de sensibilizar a sus visitantes, sobre todo a los jóvenes que buscan el camino, puede facilitar nuevas opciones de colaboración e interacción que sean estimulantes y conduzcan a su crecimiento personal. Hoy los museos disponen de canales de comunicación impensables hasta hace poco, con un gran potencial en su poder de convocatoria, pero debe ser estimulante para ellos, no un rollo macabeo insufrible. Puede hacerse utilizando un discurso atrayente, de la mano de las artes en todas sus expresiones, de la ciencia, de la historia, de la tecnología, siempre creando espacios de interés y convertirse en estimulantes “fábricas” de motivación y vocaciones. El museo no es un espacio estático, no debe ser considerado ni tan siquiera espacio, es un mecanismo de interrelación que debe salir a la calle y estar dónde se le necesite.


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