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domingo, 20 de setembro de 2015

Littérature: la dernière sélection du Goncourt annoncée au musée du Bardo à Tunis

La dernière sélection des oeuvres retenues pour le prix Goncourt sera annoncée le 27 octobre depuis le musée du Bardo, à Tunis, cible d'un attentat meurtrier le 18 mars, a-t-on appris mardi auprès de l'Académie Goncourt.

Ce n'est pas la première fois que l'ultime sélection du Goncourt se déroule à l'étranger même si le choix du Bardo est hautement symbolique.

En 2012, la troisième et dernière sélection du jury du plus prestigieux des prix littéraires français avait eu lieu à Beyrouth.

Dix-neuf personnes, dont 17 touristes étrangers et deux Tunisiens, ont été tuées le 18 mars dans l'attaque contre le musée du Bardo, la première à viser des étrangers depuis la révolution tunisienne de 2011.

La Tunisie fait face depuis la révolution de 2011 à une progression de la mouvance jihadiste responsable de la mort de dizaines de soldats et de policiers, et de 59 touristes.

Le pire attentat jihadiste de l'histoire du pays a eu lieu le 26 juin dans un hôtel près de Sousse (centre-est), où 38 touristes ont été tués. Le pays est aussi confronté au chaos grandissant en Libye voisine où des groupes armés s'affrontent depuis des mois, y permettant notamment l'émergence de l'organisation État islamique. Selon les autorités tunisiennes, les deux assaillants du musée du Bardo ont été formés en Libye.

Le prix Goncourt doit être décerné à Paris le 3 novembre. Parmi les auteurs retenus dans la première liste figure l'écrivain algérien francophone Boualem Sansal dont le roman "2084" (Gallimard) décrit l'émergence d'un Etat totalitaire islamiste.

fonte: @edisonmariotti #edisonmariotti

Satoshi Date is an artist born in Tokyo. Central Saint Martin`s graduate, is a creative director of his self-named art and design label. Based in London, Satoshi Date works daily to blend art, music and clothing into his creations with a social and environmental theme.

His clothing has been used in a popular Sony web commercials and featured at Selfridges in London. Not only has he participated in London Fashion Week but also in fashion shows and exhibitions across Europe.

112-009,017 Shiraai-Mixed colour shirt sleeve with removable pockets photo by Kelly Mitchel

Jinzamomi-shirts(112-024),Kanariairo-shorts(112-025)/Aijiro-shirts(112-001),Terigaki-shorts(112-012) Photography by Kelly Mitchell

Usuhayanagi-Shirt(112-023),Akakosu-Short(112-017) photography by Kelly Mitchell

Most recently he has lectured at prestigious Kyoto Art University, Nara Women's University and Toho Music University.

"We are not born of our own will

But we can still will happiness and fulfillment into being

The meanings of happiness, of being are broad

And the paths to them are infinite

I have sought many paths to fulfilment, of purifying - gently - relentless unwilling energy and to summon instead a world replete in delight. Strands of shared spirit are woven through our minds and bodies.

At first glance, we may seem separate entities, but tendrils of human contact tug this way and that. They forge across from an unseen world into our more familiar, tangible world.
The path I've embarked on sets out through both these spaces, on a motion grasping at an absolute truth, at happiness.

I seek to draw figures that illuminate you, to use my voice to share your tales such so they are amplified and resonate.

My creations will magically embrace and awaken.

Even if I vanish, I will still persist through my art and the pursuit of love."

fonte: @edisonmariotti #edisonmariotti

Sinebrychoff Art Museum is Bulevardi 40, 00120 Helsinki.

Two works by Stockholm artist Johan Tobias Sergel (1740‒1814), the Faun and Amor and Psyche, are some of the finest marble sculptures in the museum. The Finnish Art Society bought the Faun from art dealer M. Couvreur in Paris in 1874 and Amor and Psyche was bought from the estate of the late C.A. Armfelt in October 1930, with lottery funding allocated for this purpose by the government.

Johan Tobias Sergel, Faun, 1774. Photo:
Finnish National Gallery / Henri Tuomi & Hannu Pakarinen.

Johan Tobias Sergel, Amor & Psyche, 1789.
Photo: Finnish National Gallery / Henri Tuomi & Hannu Pakarinen.

Bertel Thorvaldsen, Sleeping Amor, 1827.
Photo: Finnish National Gallery / Yehia Eweis.
The 1st floor originally had offices of the brewery and accommodation for servants, and the 2nd floor was reserved for entertainment and the Sinebrychoff family living quarters. The office space of the brewery was located in the north-east corner of the building and the entrance to the office was directly from the street. The kitchen and the servants’ room were in the south-east corner of the building; the entry to the living quarters was via the stairs at the western end, with the rooms facing the street being for entertainment and those facing the park were the private quarters of the family.

Empire Room. Photo: Signe Brander (1912)

The house was decorated with valuable ceiling paintings, stucco surfaces and French wallpapers. The house had a bathroom and an indoor toilet, which was a sign that this was a very modern building in Helsinki at the time. Although the cellars, offices and the proximity of production plants were indications of a bourgeois way of life, the need for entertainment was taken into account at the planning stage. The garden and the park beside the building were for public use.

Gustavian Room. Photo: Signe Brander (1912)

From Brewery Office to Art Museum
One of the most important private houses in Helsinki was opened as a house museum in 1921. The four rooms facing the street exhibited beautiful interiors in different styles and were filled with interesting artefacts, to a great extent as Fanny Sinebrychoff left them. The museum remained like this until 1939 when it needed to be closed because of the outset of the Winter War. The collection was evacuated to a safe storage. The house located at Bulevardi 40 was badly damaged by bombing, and it was rented out to the Helsinki University of Technology as a chemistry laboratory after the war.

Paul Sinebrychoff’s Study. Photo: Signe Brander (1912)

In 1959, the collections moved back to the rooms restored with funding from the Sinebrychoff company, and in 1975, the government bought the whole building from the brewery. After extensive restoration, the whole building was opened as a museum. In 1980, the collections of old European art from the Ateneum Art Museum were moved there to join Paul and Fanny Sinebrychoff’s art collections.

Restoration of the House Museum
Work completed in 2002 focused on preservation and restoration. Black and white photos of the Sinebrychoff home, taken by photographer Signe Brander in 1912, formed the basis for the displays of art works and other artefacts. The four upstairs rooms facing the Bulevardi street have been restored to their original look as far as possible. The rooms facing the park display other art collections of the museum, whereas the downstairs rooms house temporary exhibitions.

The house museum presents the home of the Sinebrychoffs as it was in the 1910s. The art collection, artefacts and furniture are in their original places. As far as possible, the surface materials and paints were selected to reflect the original look of the rooms in 1910.
The restored museum was opened to the public in February 2003. At the same time, a new building was added to the complex, housing Café Fanny.

 fonte: @edisonmariotti #edisonmariotti
colaboração: Antonina Voronova

Museu The Broad abre as portas em setembro em LA. -- The Broad is a new contemporary art museum built by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles.

Em 20 de setembro, a cidade de Los Angeles, nos Estados Unidos, inaugurará o museu de arte The Broad, na Grande Avenue, Downtown. A abertura contará com a exposição da renomada coleção dos filantropos Eli e Edythe Broad.

Nomes conhecidos como Jasper Johns, Robert Rauschenberg, Andy Warhol, Ed Ruscha, Roy Lichtenstein, Keith Haring, Jean-Michel Basquiat e Jeff Koons fazem parte da exibição. 

O local será inaugurado no dia 20 de setembro

O local será a casa de cerca de duas mil obras de arte do período pós-guerra e contemporâneo do acervo pessoal dos fundadores e do The Broad Art Foundation.

Com custo de 140 milhões de dólares, o projeto, realizado pelo estúdio de design Diller Scofidio + Renfro, conta com dois andares, grande espaço para exibições, salão de leitura, hall de entrada e uma loja.

Além de expor as coleções do casal Broad, o estabelecimento será a sede da biblioteca da fundação deles.

O museu oferecerá entrada gratuita, e as excursões em grupo estarão disponíveis a partir de 1º de dezembro.

fonte: @edisonmariotti #edisonmariotti

--inThe Broad is a new contemporary art museum built by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. 

The museum, which is designed by Diller Scofidio + Renfro in collaboration with Gensler, will open September 20, 2015 with free general admission. The museum will be home to the nearly 2,000 works of art in the Broad collection, which is among the most prominent holdings of postwar and contemporary art worldwide. With its innovative “veil-and-vault” concept, the 120,000-square-foot, $140-million building will feature two floors of gallery space to showcase The Broad’s comprehensive collection and will be the headquarters of The Broad Art Foundation’s worldwide lending library.

Antiga mercearia de Setúbal, Portugal, vai ser museu

Espaço, gerido pelo proprietário e pela câmara, vai reabrir renovado nesta terça-feira, Dia de Bocage e da Cidade.

Objectivo é preservar memórias e
atrair turistas à cidade PEDRO CUNHA/ARQUIVO

Tulhas de cereais, máquina registadora antiga e medidas de latão, são alguns objectos das tradicionais lojas de bairro do século passado existentes na recuperada mercearia Confiança de Troino, em Setúbal, que vai ser gerida pelo proprietário e pelo município.

Totalmente recuperada pelo proprietário, a antiga mercearia Confiança não só vai perpetuar memórias do passado como também constituir um novo pólo de atracção turística na Praça Machado dos Santos, na Fonte Nova, em Setúbal.

"Antigamente, não existiam grandes e médias superfícies. Existiam estas lojas. O engenheiro Eduardo Silva recuperou a mercearia com grandes pormenores, com requintes lindíssimos, que nos reportam há 30 anos. E propôs-nos um protocolo, no sentido de este ser também um espaço de visitação, um espaço pedagógico e também um espaço turístico", disse Maria das Dores Meira, presidente da Câmara de Setúbal, durante uma visita à mercearia que será inaugurada dia 15 de Setembro, Dia de Bocage e da Cidade.

"Nós temos [em Setúbal] o dia do poeta. É nesse dia que gostamos também de perpetuar coisas boas da nossa terra. Esta [mercearia] vai ser aberta no dia em que ele [Bocage] faz 250 anos de nascido", acrescentou a autarca setubalense.

A mercearia Confiança do Troino, que esteve aberta ao público até 2012, foi totalmente recuperada pelo proprietário, Eduardo Silva, preservando aquele património que foi sendo restaurado ao longo dos últimos três anos. "Foi tudo retirado, o pavimento foi todo novo, de acordo com a cor original. E depois foi feito um restauro muito grande de todos os móveis que existiam na mercearia. Só sei que, depois de ter gasto 20/25 mil euros, deixei de fazer contas. Mas não me lastimo por nada", esclareceu o proprietário do imóvel.

Da parte da Câmara, "o que pretendo é que as portas não estejam condicionadas, à espera de um telefonema de alguém que queira visitar a mercearia. Estando as portas abertas permanentemente, é muito mais provável que seja divulgado o património histórico que aqui está", acrescentou Eduardo Silva.

Na deliberação camarária em que foi aprovado o protocolo para a gestão conjunta da mercearia, pelo município e pelo proprietário, a Câmara de Setúbal considera a Mercearia Confiança do Troino como "um "exemplo vivo e representativo" das antigas mercearias, que descreve como "locais de convívio onde as pessoas socializavam e passavam informação entre si", comprometendo-se a valorizar e divulgar aquele património.

Fonte: @edisonmariotti #edisonmariotti

La pauvreté entre au musée. Une sculpture, recouverte entre autres d’annonces de rabais dans les supermarchés, représente les chiffres 616 $, ...

Avant de fréquenter l’organisme d’alphabétisation Le tour de lire, à Montréal, la plupart n’étaient jamais entrés dans un musée. 

Maintenant, ils y exposent leurs oeuvres. 

Jusqu’au 27 septembre prochain, une quarantaine d’adultes engagés dans une démarche d’alphabétisation dans le quartier Hochelaga-Maisonneuve présententL’expôvreté, une exposition sur le thème de la pauvreté, leur pauvreté, dans une salle du Musée des Beaux-Arts de Montréal. 

Photo: Pedro Ruiz Le DevoirUne sculpture recouverte d’annonces de rabais dans les supermarchés représente les chiffres 616 $, soit le montant mensuel de l’aide sociale de base. Derrière, Daniel Méthot, Stéphanne Guillemette, Josée Vézina et Luc Saint-Laurent.

À travers les oeuvres qu’ils ont réalisées, avec le parrainage du musée, on découvre les causes et les conséquences de la précarité matérielle. 

Luc Saint-Laurent siège maintenant au conseil d’administration du Tour de lire. De famille d’accueil en institution, il a jadis terminé un secondaire trois « spécial ». 

Le Tour de lire lui a entre autres permis de briser l’isolement, mais aussi de feuilleter des livres. Daniel Méthot est retourné sur les bancs d’école après avoir perdu son emploi. Il a commencé à apprendre à naviguer sur Internet, mais il n’a plus la connexion parce qu’elle coûte trop cher. 

Stéphane Guillemette faisait lire les lettres qu’il recevait de l’aide sociale par sa mère avant d’apprendre à lire par lui-même. Le fait de devoir dépendre des autres pour lire des documents peut poser des problèmes de confiance, explique-t-il. 

Question de pouvoir 

C’est donc de pouvoir, autant que d’alphabétisation, qu’il est question ici. 

La première oeuvre que les participants ont réalisée montre d’ailleurs une manifestation pour des titres de transport gratuits. 

Aux racines de l’arbre « à problèmes » de la pauvreté, tel que conçu par les participants, on trouve les difficultés d’accès à l’éducation, l’obligation d’avoir un secondaire 5 pour travailler, les prestations d’aide sociale qui sont trop basses, etc.. 

Une sculpture, recouverte entre autres d’annonces de rabais dans les supermarchés, représente les chiffres 616 $, soit le montant mensuel de l’aide social de base. Trop peu pour mener une vie décente. 

Un gigantesque oeil, qui trône à l’entrée de l’exposition, représente le regard des autres. 

« Les assistés sociaux se font souvent dire qu’ils sont paresseux », relève Josée Vézina, qui est formatrice au tour de Lire. 

Plusieurs offrent pourtant de nombreux services comme bénévoles. 

Au fond de la pièce, un coeur géant planté de clous représente les problèmes de santé liés à la pauvreté. 

L’expôvreté fait partie du programme Le musée en partage, qui existe depuis seize ans au Musée des Beaux-Arts de Montréal. 

Ce programme vise à attirer au musée des clientèles qui ne le fréquentent pas nécessairement naturellement. Il compte également des projets d’exposition spéciaux. C’est le cas de celui-ci. 

Sur une cible qui illustre l’accessibilité aux loisirs, les participants ont répertorié ceux qui coûtent le moins cher. On y trouve la télévision et… la bibliothèque, pour ceux qui savent lire.

fonte: @edisonmariotti #edisonmariotti