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segunda-feira, 9 de novembro de 2015

Victoria and Albert Museum. The world's leading museum of art and design. Japanese Art & Design - Line

As the world's leading museum of art and design, the V&A enriches people's lives by promoting the practice of design and increasing knowledge, understanding and enjoyment of the designed world.

Japanese Art & Design

Line is used to make all-over decorative pattern and for borders. Objects display a striking variety of patterns made up of straight lines used as: straight lines of different thicknesses; straight lines separated by gaps of varying width; horizontal, vertical or diagonal lines crossing; straight lines crossing to make rectangles; straight lines crossing to make zigzags. A thick outline is often combined with thinner internal lines when depicting people in prints, and flower motifs on objects. This separates the subject from the background and gives solidity and definition to the shape.

Book of illustrated prints, Japan

Book of illustrated prints
Designs by Korin
Copy by Hoitsu
Japan
1826

Pages from an illustrated book of Japanese prints; with a print on each page; left - a seascape with a raging sea, and a rocky cliff, with a small rocky island which has a knarled tree growing on it, signature on the left. Right is another seacape with a stormy sea with cliffs.


V&A South Kensington. Cromwell Road. London SW7 2RL





http://www.vam.ac.uk/content/articles/j/japanese-art-and-design-themes/

Cultura e conhecimento são ingredientes essenciais para a sociedade.

Vamos compartilhar.

Culturespaces prend pied au Musée Maillol

Fermé le 15 février, pour dépôt de bilan, le Musée Maillol rouvrira en septembre 2016, comme l’a annoncé Olivier Lorquin, président de la Fondation Dina Vierny, propriétaire du musée. Culturespaces prend en charge la totalité du fonctionnement muséal, comme elle le fait déjà à Paris pour le Musée Jacquemart-André, propriété de l’Institut de France.

Les trois nymphes de la prairie, d'Aristide Maillol, 

1930-1937, en bronze, exposées au Musée Maillol. 
ARCHIVES FONDATION DINA VIERNY/MUSÉE 
MAILLOL/PHOTO JEAN-ALEX BRUNELLE



Façade sur la rue de Grenelle du Musée Maillol, montrant la Fontaine des
quatre saisons sculptée en 1739-1745 par Edme Bouchardon qui a donné son
nom à l'hôtel particulier qui loge le musée depuis 1995.
ARCHIVES FONDATION DINA VIERNY/MUSÉE MAILLOL/PHOTO JEAN-ALEX BRUNELLE 


La future programmation devrait remettre à l’honneur l’art moderne et contemporain, « l’ADN du Musée Maillol », tel que l’avait voulu sa fondatrice Dina Vierny, modèle et muse du sculpteur Aristide Maillol (1861-1944) de cinquante-huit ans son aîné. Dina Vierny s’est consacrée jusqu’à sa mort, en 2009, à rendre publique l’œuvre de son mentor, après avoir offert à l’Etat, en 1964, sous l’égide d’André Malraux, la vingtaine de figures féminines monumentales exposées dans le jardin du Carrousel aux Tuileries, à Paris. C’est elle aussi qui a acquis et restauré l’hôtel particulier de la rue de Grenelle, à Paris, pour y loger le Musée Maillol, en 1995, et exposer l’œuvre et les collections de l’artiste.

Olivier Lorquin, fils de Dina Vierny, « le patron [du Musée Maillol] nous a confié la production des expositions temporaires, celle de la collection permanente, de l’audio-guide, et de la gestion, tout ça à nos risques et périls, avec la mise à disposition des lieux bien entretenus, bien climatisés, précise Bruno Monnier, fondateur et président de Culturespaces. Il n’y aura plus de direction artistique, nous déciderons ensemble de la programmation. Avec Sophie Aurand-Hovanessian, administratrice, directrice de la programmation culturelle de Culturespaces, qui pilote le service des expositions avec une équipe de dix personnes, à Jacquemart-André, comme à Caumont Centre d’Art ouvert au printemps dernier à Aix-en-Provence ».

Le sculpteur Aristide Maillol et son modèle Dina Vierny à
Banyuls-sur-mer, en 1944, juste avant la mort
du sculpteur dans un accident de voiture.
ARCHIVES FONDATION DINA VIERNY/MUSÉE
MAILLOL/PHOTO LOUIS CARRÉ
Des expositions moins courues qu’espéré

Cette annonce met un terme à l’incertitude qui pesait sur le sort du Musée Maillol fermé dans l’urgence, il y a huit mois, alors qu’était annoncée une exposition sur le thème du baiser dans l’art, depuis la Renaissance, et qui devait ouvrir un mois plus tard. « Je retrouve mes ailes, la liberté que j’avais perdue, une envie de faire. On déborde d’idées. C’est un accord sur l’émotion,s’emporte Olivier Lorquin. Avec Patrizia Nitti, j’étais un peu en deçà, j’observais ce qui se passait chez moi. Patrizia Nitti avait de l’entregent , on a fait des choses formidables ensemble. Sa société Tecniarte a déposé le bilan, il y a eu rupture de contrat. J’ai tourné la page. »

Tecniarte, qui gérait le musée, a fait les frais d’une baisse de fréquentation avec des expositions moins courues qu’espéré, plombant la trésorerie, après des investissements colossaux et nécessaires pour la mise aux normes du musée. La pétulante Patrizia Nitti, qui a retrouvé son fief romain, estime que l’arrivée de Culturespaces à Maillol « est une révolution ». « Jamais, dit-elle, Culturespaces n’acceptera les conditions qui m’étaient imposées. Olivier Lorquin m’a donné les clefs du musée et la mauvaise gestion de la Fondation Dina Vierny, avec l’impossibilité d’yremédier. J’ai été très mal conseillée par mes avocats. Toutes les améliorations extrêmement coûteuses, c’est moi qui les ai faites, pour plus d’un million d’euros. C’était vital. J’ai rendu un musée moderne ».
Entre 180 000 et 350 000 visiteurs annuels

Ce qu’apprécie son successeur Bruno Monnier : « J’ai été agréablement surpris, reconnait-il, de trouver des infrastructures au top niveau. L’équipement du musée est prêt ». Le contrat signé avec M. Lorquin prévoit le versement, par Culturespaces au Musée Maillol, d’un « loyer fixe pour les mille mètres carrés d’exposition et un partage des excédents de la billetterie – sur les frais engagés », ajoute Bruno Monnier qui vise 300 000 visiteurs par an. Un objectif raisonnable pour un musée dont les entrées oscillaient, selon les têtes d’affiche, entre 180 000 et 350 000 visiteurs – notamment pour Basquiat, en 1997, et Pompéi en 2011.

« Revenir aux fondamentaux », telle est l’obsession d’Olivier Lorquin. D’ores et déjà, les thèmes porteurs retenus pour les deux expositions temporaires annuelles, de l’automne et du printemps, confirment le parti-pris : « la représentation du corps dans l’art moderne et contemporain », « Aristide Maillol, ses amis et les artistes de son temps », « Dina Vierny, muse de Maillol, galeriste et collectionneuse », ou encore « les couples artistes ».

Culturespaces, société privée, s’occupera de tout, de l’accueil, de la billetterie, des visites comme de la gestion des activités annexes – librairie-boutique, café, réceptions. Sur le modèle de ce qu’elle fait dans les treize autres sites à sa charge, des Carrières de lumière des Baux-de-Provence aux Théâtre et Arènes de Nîmes, jusqu’à la Villa Ephrussi de Rothschild sur la Méditerranée .

La cour pavée de l’Hôtel Bouchardon, qu’a connue Alfred de Musset qui logeait au premier étage, va retrouver son éclat d’origine derrière le fameux porche d’entrée, dit « de la Fontaine aux quatre saisons » pour ses figures sculptées.




http://www.lemonde.fr/arts/article/2015/11/06/culturespaces-prend-pied-au-musee-maillol_4804813_1655012.html

Cultura e conhecimento são ingredientes essenciais para a sociedade.

Vamos compartilhar.



AGENDAS MUNDI L – MUSEOS EN SENEGAL -- en CULTURA, MUSEO,OPINIÓN, RELATO, VIAJES. ·

No hay duda que Senegal es, sin duda alguna, uno de los países más estables del continente africano. Dakar, la capital del país, es un lugar vibrante que da la bienvenida a todos los que quieran disfrutar de la experiencia africana. Situada en el piquillo más occidental del país, es una ciudad dónde la elegancia se casa con el caos, un lugar muy ruidoso, con mercados abarrotados y una vida nocturna muy activa, con bellos parajes naturales como la Isla de Gorée y las playas de Yooff y N’Gor, por eso de que también hay tiempo para la ternura contemplativa.


Museo de la Cultura Diola (sin website) | Skiring


Es un museo muy peculiar, en combinación con actividades al aire libre. El protagonista del museo es el animismo Diola y su cultura. Expone objetos que hacen un viaje entre el propio animismo y lo ancestral, el tradicionalismo. El museo nos sumerge en esa parte de la cultural senegalesa tan importante, de la mano de fetiches diolas, piezas relacionadas con el culto animista, explicando la organización social de las comunidades más tradicionales. Muy interesante la reproducción de una vivienda tradicional apoyada con la representación del hábitat natural. Una visita muy recomendable.


 
Brent Stirton para Nat Geo

En la zona norte de Senegal, nos encontramos con la enigmática ciudad de Saint-Louis, que es Patrimonio de la Humanidad de la Unesco, con espíritu marcadamente colonial a partir de su arquitectura y muy próxima a parque naturales que son reserva nacional. A lo largo de la Petite Côte y del cabo Skiring, se abren las enormes playas y el fértil delta del río Casamance donde habitan cientos de especies de pájaros, incluidos los flamencos muy rosa. Senegal es el país perfecto para disfrutar de las sensaciones mezcladas en sintonía de sentirse en soledad, percibiendo y disfrutando de los mil y un sonidos de la naturaleza.

¿Senegal tiene museos? Sí, y os vais a sorprender para bien.



Este museo, uno de los más importantes de África occidental, está dedicado a las artes y las tradiciones de África occidental y cuenta con aproximadamente 9.000 objetos de los cuales unos 300 se presentan al público de forma permanente. Aunque menores, tiene similitudes con el Museo del Hombre en París, con muchas situaciones de la vida cotidiana, como los ritos de apaciguamiento entre los Yoruba de Nigeria o las salidas de máscaras en Senufo de Costa de Marfil. Si las máscaras están bien representadas, también hay elementos como estatuas talladas, puertas, asientos o tambores. El papel del oro en el comercio trans-sahariano es mencionado por una serie de cuadros y joyas diversas. Los ejemplos de la artesanía principal de África occidental están expuestos: alfarería, cerámica, textiles y cestería entre una gran variedad de colores y materiales.



La casa de esclavos fue reconstruida y abierta como museo de la esclavitud en 1962, en memoria de Boubacar Joseph Ndiaye. Este importante personaje local fue el que documentó todo el proceso histórico de la mercadería de más de un millón de esclavos en el país, la mayor parte de ellos transportados a América. Cuando el museo se constituyó como tal, el señor Ndiaye se convirtió en el conservador principal, siendo él que realizó toda la colección que hoy se expone en el museo. Es un lugar triste del recuerdo de los cruce que puede llegar a ser el hombre con el hombre, aun así es una de las principales atracciones turísticas de Senegal.



Este museo dedicado principalmente a las especies marinas locales, no es precisamente la quintaesencia de lo que entendemos como un cuidado exquisito de los fondos de la exposición. Tiene como objetivo se un apoyo al conocimiento del mar, algo importantísimo en este país, que subsiste principalmente gracias a la pesca, sensibilizando sobre lo importante que es el cuidado del medio marino. Tienen libros de consulta, fotografías muy deterioradas (por la humedad), documentos audiovisuales, con una colección en exposición de unos 6.000 objetos que van desde los especímenes de peces, moluscos, huesos, hasta una muestra de instrumentos de pesca tradicional y maquetas del hábitat marino local. Disponen también de un fichero de las colecciones en orden alfabético.


Museo Boribana (sin website) | Dakar


Es un museo privado dedicado al arte contemporáneo en Senegal, pero a su vez con exposiciones de la diáspora. Es un museo de las “raíces” artísticas más modernas del país, con tendencias étnicas y antropológicas, y que hace un esfuerzo grande en la adquisición y conservación del mayor numero de obras representativas posible. Se fundó en el año 1990 de la mano de Boubacar Koné y su querida esposa CCH Pounder.




Museo de la Mujer Senegalesa Henriette-Bathily | Dakar


Se trata de una residencia colonial con dos pisos, construida en 1777 como juzgado durante el periodo de la ocupación colonial francesa. La mansión perteneció a una empresaria acaudalada llamada Victoria Albis. Hasta 1962, la casona perteneció al noble local Armand-Pierra Angrand (no extraña lo de noble con ese nombre), un descendiente del escritor Gorée, que también fue el primer gobernador negro de Dakar en 1936. La exposición permanente del museo estado una miscelánea, con la muestra de objetos del periodo colonial como son las herramientas de cultivo, instrumentos musicales, vajillas, cestas, como también fotografías que ayudan a entender la vida diaria de una mujer senegalesa. La importante presencia en el recuerdo del imaginario colectivo sobre las mujeres que lucharon por su emancipación, como fue la novelista A. Sow Fall. El museo también funciona como “Instituto Francés del Africa Negra”.

Museo Regional de Tambacounda (sin website) | Tambacounda


Un museo que responde al modelo africano del museo del pueblo. Este museo tiene la singularidad de que todo lo que podría exponer se encuentra el museo antropológico del hombre de Quai Branly en París. Mejor os vais a la ciudad de la luz para ver lo que queda del patrimonio cultural de Tambacounda. En su museo más bien poco.

Senegal es un país que tiene más museos que visitar que la mayoría de sus vecinos. No hemos incluido en la entrada de hoy, aquellos que están entre exposición y galería-tienda de arte, que son la mayoría sobre todo en Dakar y en Saint Louis. Los hemos excluido por no ser realmente museos sino más bien tiendas, muy populares, eso sí es cierto.

Seguimos nuestro viaje africano cruzando la frontera del sur, camino de Gambia. Imaginamos que el número de museos locales estará en proporción al tamaño del país.


Cultura e conhecimento são ingredientes essenciais para a sociedade.

Vamos compartilhar.

The Moderna Museet, Sweden

When Moderna Museet opened in the drill hall on Skeppsholmen, Stockholm, on 9 May 1958, discussions about starting a new museum for 20th century art had been going on for decades.


Moderna Museet has some of the finest key works of 20th century art, 

including works by Picasso, De Chirico, Richter,
Dardel and many more. The collection comprises some 5,000 paintings,
sculptures and installations, some 25,000 drawings and graphic works,
and more than 100,000 photographs.


"The national art collection emanates from the Royal Collection and from King Gustaf III's collection of antiquities, which was declared a public art collection by His Royal Majesty already in 1792 - making it the first public art museum in Europe outside Italy. When the Nationalmuseum building on Blasieholmen was ready to house the collection in 1866, after 20 years of construction work, the storage conditions were a problem from day one. In 1908, the problem of displaying new art was discussed more seriously, and the idea was broached of building a new museum for that 'collection'." 

In 1950, the artist Otte Sköld took over as senior curator of the Nationalmuseum. The above quote is from his inaugural speech for Moderna Museet. Otte Sköld's commitment to creating a new museum was decisive. Together with the Friends of Moderna Museet, formed in 1953, and other interested parties, he strove to give the Nationalmuseum collection of 20th century art a home of its own. Otte Sköld was the founder of Moderna Museet, but he died only a few months after opening in 1958.



Already in 1956, while the old drill hall was still being rebuilt, Picasso's Guernica and the 93 sketches that go with the painting were displayed there. This sensational exhibition - arranged by Pontus Hultén and the head of the modern collection at Nationalmuseum - gave the new museum a flying start. Looking back, in a book about Moderna Museet published in 1983, Hultén writes: "Picasso's Guernica with the accompanying 93 sketches was touring the museums of Europe at the time, and we decided the rebuilding should be interrupted for a few months so it could be shown in the first hall while refurbishment continued in the inner regions. The roof had been removed, so the hall was covered with tarpaulins. The result was a dramatic setting well-suited to the painting and the entire project."



In the 1950s, Pontus Hultén and a few friends had run a studio for experimental film, and this was now incorporated with Moderna Museet's activities. The members formed a wide cultural network, and thus, the new museum gained a core audience which, along with the curious general public, made Moderna Museet the centre of new art in Stockholm. Over the following decade, Moderna Museet developed into an international platform for the latest art trends. The first solo exhibition - after Guernica - dealt with the architect and painter Le Corbusier. 


Legendary era

Pontus Hultén succeeded Bo Wennberg in 1960, and this was the start of a legendary era for the institution. Exhibitions alternated between early modern artists such as van Gogh, modernists like Léger, Klee, Arp, Magritte, Pollock and Kandinsky, and Swedish artists such as Sven Erixson, Carl Kylberg, Bror Hjorth and Sigrid Hjertén. The biggest splash, however, was made by a few of the theme exhibitions, for instance, "Movement in Art" (1961), "4 Americans" (1962), "American Pop Art - 106 Forms of Love and Despair" (1965), "Inner and Outer Space" (1965), "She" (Niki de Saint Phalle, Jean Tinguely, P.O. Ultvedt), and by contemporary solo exhibitions with Claes Oldenburg, Andy Warhol and Edward Kienholz. Events of various kinds - from film screenings of New American Cinema, to happenings such as "5 New York Evenings" in 1964, with Robert Rauschenberg, John Cage, David Tudor, Yvonne Rainer, Öyvind Fahlström, Merce Cunningham and others - contributed to the museum's repute.



The exhibition "Önskemuseet" (The Dream Museum) in the winter of 1963-64 was initiated by the Friends of Moderna Museet, based on a concept by Ulf Linde. A large number of works that he believed ought to be part of the museum collection were borrowed, and a miracle took place: Moderna Museet was granted a one-off allocation from the government of five million kronor. Suddenly, the collection could expand into one of the best of its kind in western Europe. The exhibition set the tone for the future of Moderna Museet. It led to works by Kirchner, Max Ernst, Balla, de Chirico, Miró, Dalí, Mondrian and Picasso being incorporated in the collection. The purchase of international art encountered strong opposition from the art world at the time. But the museum continued to collect, not least thanks to various donations, including one by Rolf de Maré involving three paintings by Georges Braque and five by Fernand Léger; more recent donations include one from Grace and Philip Sandblom, Picasso's Spring and two paintings by Hilding Linnqvist; and the Gerhard Bonnier donation in 1989: a veritable treasure consisting of works by Picasso, Léger, Mondrian, Chagall, Miró, Giacometti, Gris, Dubuffet, Laurens and Yves Klein. Added to this, the Friends have contributed a large number of valuable gifts to the museum collection since the start. 


A broad concept 

If the museum's first decade was characterised by 1960s optimism, its future fate has been equally influenced by the moods of subsequent decades. The turbulence around 1968 impacted on operations and gave rise to the idea of a museum with a broad spectrum of activities. In addition to happenings, dance, films and concerts, the exhibition tours for children - thanks to Carlo Derkert's unique educational input - were always a special feature of Moderna Museet. Derkert's idea was to keep up a dialogue with the museum's youngest visitors, an approach that has been seminal to the children's activities ever since the 1960s.



The "Model" experiment of 1968 was a room filled with rubber foam for wild games and other physical exercises. Starting in the pioneering 1960s, the Workshop has helped children and teenagers feel at home in the museum exhibitions and in the world of art.



The photographic collection was founded in 1971, when the Friends of Fotografiska Museet donated their collection to the Nationalmuseum. In 1973, FM became a department of Moderna Museet. The collection is complemented by an excellent library and an archive that are open to the public. 

New York Collection for Stockholm was Pontus Hultén's final brainwave for the museum - and his parting gift, before moving to Paris in 1974, where he was head of Musée National d'Art Moderne at the Centre Georges Pompidou. He was succeeded at Moderna Museet by the Swedish painter Philip von Schantz. 


Reinauguration

After a few exhibitions in the early 1970s, including Joseph Beuys, 1971 and Salvador Dalí, 1974, the museum was closed for rebuilding on 20 October, 1974. The refurbished Moderna Museet premises were reopened on 7 November, 1975. In the course of the refurbishment, the plans had been radically downsized. 

In 1976, the museum staged "ARARAT" (Alternative Research in Architecture, Resources, Art and Technology), a continuation of a theme based on 1960s experiments with art and technology, but in an updated, alternative version. A few of the artists shown in the 1970s were Sidney Nolan, Carl Kylberg, Adolf Wölfli, Alberto Giacometti, Claes Oldenburg, Olle Kåks, Carl Fredrik Reuterswärd and Rolf Börjlind. 

Karin Lindegren, who had worked at Moderna Museet for many years, had a short stint as head of the museum in 1979. Some of the artists featured during her directorship were Renato Guttuso and the true naivist Lim-Johan. In 1980, Lindegren was succeeded by Olle Granath. 


The Eighties

The eighties involved a broad and varied programme, featuring both contemporary art (neo-expressionist works from Germany, Mario Merz, Marcel Broodthaers, Daniel Buren) and large, popular classics such as Marc Chagall, "Russian avant-garde from the Georg Costakis collection", Henri Matisse and Francis Picabia, not to mention the greatest success, Pablo Picasso. Postmodernism was presented in "Implosion - A Postmodern Perspective" in 1987. 

Olle Granath headed the museum throughout the 1980s. In his final years at the museum he was involved in planning a new museum building. In late 1989, he was appointed senior curator of the National Art Museums, but continued to work on the plans. That autumn, Björn Springfeldt took over as director of Moderna Museet. 

A design competition was launched in winter 1990-91, attracting 211 drafts for a new Moderna Museet. Five internationally renowned architects were also invited to participate, funded by the Eddie Figge Foundation. On 10 April, 1991, it was announced that Rafael Moneo from Spain had won the competition with his proposal, "Telemachos". 

In the 1990s, the museum hosted exhibitions by Per Kirkeby, Lee Jaffe, Kiki Smith, Robert Mapplethorpe and Bill Viola, Arne Jones, Lage Lindell and others, in addition to continuous shows of works from the collection, Nordic contemporary art and new acquisitions. In early spring 1994, the old drill hall on Skeppsholmen closed with an extensive exhibition of works by the German painter Gerhard Richter. 

While the new museum building was being built, Moderna Museet was relocated to the tram sheds on Birger Jarlsgatan in central Stockholm. As Moneo's new construction began to take shape on Skeppsholmen and the temporary activities in the tram sheds were drawing to an end, Björn Springfeldt resigned as museum director. One of his last contributions to the museum was to successfully finalise the negotiations with Irving Penn concerning the photographer's donation of 100 photographs to the museum. This donation was exhibited in the winter of 1995-96. 

In November 1996, David Elliott was appointed director of the museum. Elliott, who had previously headed the Museum of Modern Art in Oxford, was Moderna Museet's first foreign director. The activities at the tram sheds ended in May 1997 with an exhibition on Picasso and the myths of the Mediterranean. 


The new Moderna Museet

At last, in the 40th year of Moderna Museet's existence, the new museum was inaugurated on 12 February, 1998, by King Carl XVI Gustaf and Queen Silvia. The first exhibition, "Wounds: Between Democracy and Redemption in Contemporary Art", dealt with developments in Europe and America from the 1960s up until today, bridging the gap between the frantic and visionary activities of the museum's first years and the equally dynamic potential of the now and the future. Other noteworthy exhibitions are "After the Wall: Art and Culture in Post-Communist Europe" (1999), "Utopia and Reality - Swedish Modernism 1900-1960" (2000), "What If - Art on the Verge of Architecture and Design" (2000), and "In Visible Light" (1998). The museum also hosted several solo exhibitions, including David Bailey (2000), Vera Nilsson (2001), Rosemarie Trockel (2001) and Fernando Botero in 2001. 

A magazine, an installation of IKEA furniture, a digital film and a series of seminars. These are but a few of the 29 disparate art projects pursued under the umbrella of Moderna Museet Projekt, a scheme that existed between 1998 and 2001. Swedish and international artists were invited to produce new work, either in the large hall of the Vicarage, or wherever the artist in question preferred. 

Only a few years after opening, it was discovered that the new building had a problem with mould and damp, and plans were made to evacuate the staff and art collection. Meanwhile, in November 2001, Lars Nittve joined as head of the museum. Nittve, who had been a senior curator of Moderna Museet in the 1980s, had previously headed Louisiana, Denmark, and Tate Modern in London. 


Moderna Museet c/o 

While the museum on Skeppsholmen was being refurbished in 2002-2003, activities moved to the former post office terminal at Klarabergsviadukten 61 in Stockholm. The exhibition activities during that period presented an entirely new concept, which proved to be a success. Art was shown via other art institutions and other sites throughout Sweden, in addition to the museum's own premises: Moderna Museet c/o. A few examples are c/o Magasin 3 Stockholm Konsthall, 2002, c/o Waldemarsudde, 2002, c/o BoStad 2002, c/o Malmö Konsthall, 2003, and c/o BildMuseet in Umeå. 

Odd Weeks was a series of exhibitions designed specifically for Moderna Museet c/o Klarabergsviadukten 61. Shows opened every other Monday at 6 pm, odd weeks, and presented a wide variety of oeuvres. The parameters were defined by the 70 sqm space, and the idea was to look at different, unexpected aspects of the artists' work. Artists exhibited included: Eva Koch, Martha Rosler, Torsten Renqvist, Charlotte Gyllenhammar, Jan Håfström and Eva Löfdahl. 


The new refurbished Moderna Museet

On 14 February, 2004, the museum building was reopened with festivities. In addition to repairs, the opportunity had been taken to improve some of the spaces, partly to make it easier for visitors to move through the museum, and partly to utilise the upper entrance space more adequately. At the same time, the museum's graphic profile was updated. 

Alongside the opening exhibitions, the Pontus Hultén Collection and Anna Riwkin, major efforts were devoted to the presentation of Moderna Museet's own collection. Works from the turn of the previous century up to now are presented in reverse chronological order, so that visitors see contemporary art first and are then taken back in time a hundred years by the time they reach the far end of the museum. The title of the exhibition is In Our Time, and will be shown until further notice, with minor changes occasionally. 

Another major new feature at the reopening was the introduction of museum hosts - people who have a variety of skills, from life-saving to being able to tell visitors about the works of art in both the permanent and temporary exhibitions. The reason for introducing new hosts was to cater for the large increase in visitor numbers since the admission fee was abolished.





http://www.modernamuseet.se/Stockholm/

Cultura e conhecimento são ingredientes essenciais para a sociedade.

Vamos compartilhar.