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segunda-feira, 29 de fevereiro de 2016

MALI - Museo de Arte de Lima, Peru.

El Palacio de la Exposición, edificio que alberga al Museo de Arte de Lima - MALI, es uno de los ejemplos más bellos de la arquitectura ecléctica limeña. 



Concebido y construido como sede de la primera gran exposición pública en nuestro país, la "Gran Muestra de Artes, Ciencias e Industrias", llevada a cabo con motivo de los cincuenta años de independencia, se adecúa fácilmente a las funciones del museo, ya que fue construido expresamente para fines expositivos. Fue edificado entre los años 1870 y 1871 durante el gobierno de José Balta. 

Se trata de un edificio precursor en América Latina, pues es una de las más tempranas e importantes obras hechas con la nueva técnica de construcción en fierro. Proyectado en el estilo neo-renacentista, su diseño y construcción se deben al arquitecto italiano Antonio Leonardi. 


La fabricación de las columnas, hechas en fierro e importadas desde Europa, es atribuida a la casa Eiffel. Rodeado por estatuas, jardines y un zoológico, el Palacio fue el corazón de uno de los proyectos urbanos más importantes del siglo pasado, siguiendo el ejemplo de las exposiciones universales europeas.

En la actualidad, forma parte de una de las zonas más dinámicas y transitadas de la ciudad, donde confluye un público numeroso y heterogéneo. Debido a su importancia, el Palacio fue declarado por el Instituto Nacional de Cultura - INC, monumento histórico y Patrimonio Cultural de la Nación en 1973.


1869 El presidente José Balta ordena la construcción del edificio para que albergue la Exposición de Lima. 

1872 Se inaugura el Palacio de la Exposición en julio, con ocasión de la "Gran Muestra de Artes, Ciencias e Industrias" 

1872-1879 Sede de la Sociedad de Bellas Artes. 

1880-1883 Guerra del Pacífico. El edificio sirve primero de banco de sangre y luego de cuartel para las tropas chilenas. 

1889 En agosto, el Estado cede el edificio al Concejo Provincial de Lima. 

1905-1935 Sede del Museo Nacional de Historia y del Ministerio de Fomento. Luego sirve a la Cámara de Diputados, a la Dirección de Tráfico y Rodaje, al Ministerio de Agricultura y, finalmente, como sede de la Municipalidad de Lima, después de que su edificio se incendiara en noviembre de 1923. 

1955-1956 La Municipalidad de Lima cede en comodato renovable el edificio al Patronato de las Artes para que sirva de museo de arte. Empiezan las actividades culturales del Museo. 

1956 Con la asesoría técnica de Alfred Westholm y Hans Asplund, enviados especiales de la UNESCO, se elaboró un proyecto integral de restauración y puesta en valor del edificio, llevado a cabo por los arquitectos José García Bryce y Héctor Velarde, y el Ingeniero Ricardo Valencia. 

1957 Se inaugura la etapa inicial de restauración del edificio, respaldada por el Estado peruano y el gobierno de Francia, con ocasión de una gran exposición sobre la industria y la cultura francesa. 

1961 Inauguración oficial del Museo de Arte de Lima, el 10 de marzo, con la apertura de sus salas de exposición permanente. 

1973 El INC declara al Palacio de la Exposición monumento histórico y, por ser la sede de un museo, Patrimonio Cultural de la Nación.






Fonte: @edisonmariotti #edisonmariotti

http://www.mali.pe/

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.


Vamos compartilhar.

Cultura, TRADIÇÃO, Romênia. Martisor, tradição comemorado, no dia 1º de março. --- Mărțișor is an old tradition celebrated all over Romania every year, on March 1st.

The name Mărțișor is a diminutive of March (Martie in Romanian).
It is believed that the person who wears the red and white string would enjoy a prosperous and healthy year.




Not long ago, in the countryside, people used to celebrate the Martisor 
by hanging a red and white string at their the gate, window, cattle's horn and shed to protect against evil spirits and to invoke nature's regenerative power.






In eastern Romania ( Moldova andBucovina), the red and white string was complemented with a small - gold or silver - coin. After wearing the coin for twelve days, the women would buy fresh cheese with it hopping that their skin would be healthy and beautiful the entire year.

According to archaeological research, the Mărțișor traces its history more than 8,000 years ago. Some ethnologists believe that the Mărțișor celebration has Roman origins, others support the theory that it is an old Dacian tradition.



In ancient Rome, the New Year's was celebrated on the 1st of March.

March ('Martius') was named in the honor of the god Mars. Mars was not only the god of war but also the god of agriculture, which contributes to the rebirth of vegetation.

The Dacians also celebrated the New Year's on the first day of March.

Ample spring celebrations were consecrated to this event.

In the old times, Mărțișor were made of small river pebbles, colored in white and red, stringed on a thread and worn around the neck.

They were worn, to bring good luck and good weather, from March 1 until the first trees would bloom.


When the first trees were flowering the Mărțișor were hanged on tree branches.

Nowadays, on March 1, Romanians buy silky red-white threads (șnur) tied into a bow to which a small trinket is attached and offer them to their (female) family members, friends and colleagues to show friendship, respect or admiration.




Cultura e conhecimento são ingredientes essenciais para a sociedade.

Vamos compartilhar.






--br via tradutor do google
O nome martisor é um diminutivo de março (Martie em romeno).

Acredita-se que a pessoa que usa o fio vermelho e branco iria desfrutar de um ano próspero e saudável.

Não muito tempo atrás, no campo, as pessoas usavam para celebrar o Martisor
pendurando uma corda vermelha e branca à sua porta, janela, chifre de gado e derramou para proteger contra os maus espíritos e invocar o poder de regeneração da natureza.

Na Roménia Oriental (Moldávia e Bucovina), a corda vermelha e branca foi complementado com um pequeno - ouro ou prata - moeda. Depois de usar a moeda durante doze dias, as mulheres iria comprar queijo fresco com ele na esperança de que sua pele seria saudável e bonito o ano inteiro.

De acordo com a pesquisa arqueológica, a martisor traça a sua história mais de 8.000 anos atrás. Alguns etnólogos acreditam que a celebração martisor tem origem romana, outro apoiam a teoria de que é uma tradição Dacian de idade.
Na Roma antiga, o Ano Novo foi celebrado no dia 1º de março.

Março ( 'Martius') foi nomeado em honra do deus Marte. Marte não era apenas o deus da guerra, mas também o deus da agricultura, que contribui para o renascimento da vegetação.

O Dacians também celebrou o Ano Novo no primeiro dia de março.

celebrações da primavera amplas foram consagrados a este evento.

Nos velhos tempos, martisor eram feitas de pequenos seixos do rio, colorido em branco e vermelho, amarrado em um segmento e usado ao redor do pescoço.
Eles foram usados, para trazer boa sorte e bom tempo, a partir de 1 de março até as primeiras árvores que florescem.

Quando as primeiras árvores foram floração do martisor foram enforcados em ramos de árvore.

Hoje em dia, em 1 de Março, os romenos comprar as linhas do vermelho-branco de seda (şnur) amarrada em uma curva em que um pequeno trinket está ligado e oferecer-lhes aos seus (feminino) membros da família, amigos e colegas para mostrar amizade, respeito ou admiração.

The National Museum in Gdansk, Poland. --- Museu Nacional em Gdansk, Polônia.

The National Museum in Gdansk is the heir of the City Museum (Stadtmuseum) and of the Musem of Decorative Arts (Kunstgewerbemuseum). Established in 1872 through the efforts of Rudolf Freitag, the lecturer at the Royal School of Fine Arts, it reopened after World War II as the City Museum, it was called the Pomeranian Museum until 1950 and was elevated to the rank of a National Museum in 1972. 



Over time its archaeological, maritime and historical departments developed into stand-alone museum establishments: the Maritime Museum in 1960, the Archaeological Museum in 1962 and the Historical Museum of the City of Gdansk in 1971. 

The present-day administrative structure of the Gdansk National Museum includes the Division of Modern Art, the Division of Ethnography, the Gdansk Gallery of Photography and the Museum of the National Anthem, with the main building housing the department of Old Art.


The main building is a post-Franciscan monastery constructed in the fifteenth and early sixteenth centuries. Destroyed by Prussian and Napoleon's troops in 1807-14, it was partly restored and enlarged in 1867-72. The war activities of 1945 left the monastery damaged in 65 per cent. Luckily, the Gothic ground floor with arcades, refectories and halls survived. The restoration, which lasted from 1946 to 1956, removed the nineteenth century, bringing the building back to its original appearance.

The holdings of Old Art have mostly been acquired through bequests and donations by the burghers and craft guilds of Gdansk. Many of the exhibits are church deposits. Pre-eminent in the holdings is a collection of paintings, prints and drawings presented by the Gdansk-based Scottish merchant, Jacob Kobrun (Cocburn), b. 1759 – d. 1814. 

Originally numbering some 10,000 works by European artists from the fifteenth century onwards, the collection lost two-thirds of its exhibits during World War II, but still remains one of Poland's most valuable collections of its kind. Another strength of the Museum are its holdings of the thirteenth to sixteenth century textiles and embroideries from Europe's leading decorative textile making centres. 

A property of the church of Blessed Virgin Mary, the collection was presented to the Museum by the Gdansk protestant community in 1937 and, depleted during and after World War II, now numbers only half of the initial 541 exhibits. Other holdings of decorative arts and crafts were badly depleted, too. Nowadays the Museum's holdings are facing another major threat, that of claims made by the church authorities. The church has demanded the return of not only the works of art which were brought to the Museum from the destroyed churches after 1945, but also of those which were successively presented by the Protestant communities and municipal authorities from 1872 onwards.

The Gdansk Museum boasts a collection of the twelfth to sixteenth century Pomeranian and West European sculpture, with two valuable altars, the Mourning of Christ andAssumption, both dating from ca. 1410, and a Romanesque sculpture of Mary enthroned from ca. 1170-1200; sixteenth and seventeenth century Dutch and Flemish paintings; sixteenth and seventeenth century Gdansk paintings; drawings and prints from Dutch and German schools of the fifteenth through nineteenth centuries; works by Gdansk smiths and goldsmiths of the Baroque period; late medieval pewter exhibits made in Gdansk as well as in Pomeranian and European workshops; Gdansk, Pomeranian and North European furniture ranging in date from the late Middle Ages to Baroque and Rococo; ceramics, especially tiles, Gdansk stoves, Dutch, French, Swedish and Polish faience, Silesian stoneware, Dresden china, etc. 

While the Museum specialises in old art, mostly from the areas of Gdansk and Pomerania, it also possesses Polish paintings representative of romantic to inter-war movements by painters of such renown as Piotr Michalowski,Stanislaw Wyspianski, Jacek Malczewski and Olga Boznanska.

Permanent exhibitions: "Medieval Fine Arts in Pomerania"; "Gdansk Painting of the 16th to 18th Century"; "Gallery of 19th Century Gdansk Artists"; "Polish Painting of the 19th and Early 20th Centuries"; "Gallery of Prints and Drawings"; "Works by 15th to 19th Century Goldsmiths"; "Pewter in the 15th to 19th Centuries"; "Works by Smiths and Goldsmiths of the 16th to 18th Centuries"; "18th Century Furniture Making in Gdansk and Eastern Pomerania"; "Old Ceramics: 15th to 20th Centuries".

Muzeum Narodowe w Gdańsku, Oddział Sztuki Dawnej, ul. Toruńska 1, Gdańsk









--br via tradutor do google
O Museu Nacional em Gdansk, Polônia.

O Museu Nacional em Gdansk é o herdeiro do Museu da Cidade (Stadtmuseum) e do Musem de Artes Decorativas (Kunstgewerbemuseum). Fundada em 1872, através dos esforços de Rudolf Freitag, o professor da Escola Real de Belas Artes, que foi reaberto após a Segunda Guerra Mundial como o Museu da Cidade, foi chamado o Museu Pomeranian até 1950 e foi elevada à categoria de um Museu Nacional em 1972. ao longo do tempo os seus serviços arqueológicos, marítimas e históricos desenvolvido em estabelecimentos museu autônomos: o Museu Marítimo em 1960, o Museu Arqueológico em 1962 e o Museu histórico da Cidade de Gdansk em 1971. a atual estrutura administrativa da Gdansk Museu Nacional inclui a Divisão de Arte moderna, a Divisão de Etnografia, a Galeria de Gdansk da Fotografia e do Museu do Hino Nacional, com a carcaça edifício principal do departamento de arte antiga.

O edifício principal é um mosteiro franciscano pós-construídos nos séculos XVI XV e início. Destruída por tropas prussianas e Napoleão está em 1807-1814, foi parcialmente restaurado e ampliado em 1867-1872. As atividades de guerra de 1945 deixou o mosteiro danificado de 65 por cento. Felizmente, o piso térreo gótico com arcadas, refeitórios e salas sobreviveu. A restauração, que durou de 1946 a 1956, removido do século XIX, trazendo o edifício de volta à sua aparência original.

As detenções de arte Old têm sido quase sempre adquiridos através de legados e doações de os burgueses e corporações de ofício de Gdansk. Muitas das exposições são depósitos da igreja. Preeminente nas explorações é uma coleção de pinturas, gravuras e desenhos apresentados pelo comerciante escocês baseado em Gdansk, Jacob Kobrun (Cocburn), b. 1759 - d. 1814. Originalmente numeração cerca de 10.000 obras de artistas europeus a partir do século XV, a coleção perdeu dois terços de suas exposições durante a Segunda Guerra Mundial, mas continua a ser uma das mais valiosas colecções do seu género da Polónia. Outro ponto forte do museu são as suas participações do décimo terceiro aos têxteis do século XVI e bordados dos principais centros preparar decorativo têxteis da Europa. Uma propriedade da igreja de Virgem Maria, a coleção foi apresentada ao Museu pela comunidade protestante Gdansk em 1937 e, esgotados durante e depois da Segunda Guerra Mundial, agora os números apenas metade dos 541 exposições iniciais. Outras explorações de artes decorativas e artesanato foram extremamente exaurido, também. Hoje em dia as participações do Museu estão enfrentando outra grande ameaça, a de reivindicações feitas pelas autoridades da igreja. A igreja exigiu o retorno de não só as obras de arte que foram trazidos para o Museu das igrejas destruídas depois de 1945, mas também daqueles que foram sucessivamente apresentadas pelas comunidades protestantes e autoridades municipais de 1872 em diante.

O Museu Gdansk possui uma coleção de décimo segundo para Pomeranian século XVI e escultura da Europa Ocidental, com dois altares valiosos, a lamentação de Cristo e Assunção, ambas de ca. 1410, e uma escultura românica de Mary entronizado de ca. 1170-1200; pinturas XVI e do século XVII holandeses e flamengos; pinturas do século XVI e XVII Gdansk; desenhos e gravuras de escolas holandesas e alemãs do XV através dos séculos XIX; obras de ferreiros e ourives do período barroco Gdansk; exposições de estanho medievais feitas em Gdansk, bem como na Pomerânia e oficinas europeias; Gdansk, Pomerânia e móveis europeus do Norte que variam em data a partir da final da Idade Média ao Barroco e Rococó; cerâmicas, especialmente os azulejos, fogões Gdansk, holandês, francês, faiança sueco e polaco, grés Silesian, Dresden China, etc. Enquanto o museu é especializada em arte antiga, na maior parte das áreas de Gdansk e Pomerânia, também possui pinturas representante polaco de romântico aos movimentos inter-guerra de pintores de renome, tais como Piotr Michalowski, Stanislaw Wyspianski, Jacek Malczewski e Olga Boznanska.

exposições permanentes: "Medieval Belas Artes na Pomerânia"; "Pintura Gdansk de 16 a 18th Century"; "Galeria de Século 19 Gdansk Artistas"; "Pintura polonesa dos séculos 20 19 e início"; "Galeria de Gravuras e Desenhos"; "Obras de 15 a 19 do século Goldsmiths"; "Pewter em 15 a 19 Séculos"; "Obras de Smiths e Goldsmiths de 16 a 18 séculos"; "18th Century Furniture Fazendo em Gdansk e Pomerânia Oriental"; "Cerâmica velhos: 15 a 20 séculos".


Muzeum Narodowe w Gdańsku
Oddział Sztuki Dawnej
UL. Toruńska 1
 Gdańsk

Mosaico de Unidades de Conservação do Jacupiranga, no Vale do Ribeira e no Litoral Sul, Mata Atlântica do Estado de São Paulo, Brasil.

Composto por 14 unidades de conservação (UC) de diversas categorias, o Mosaico do Jacupiranga (MOJAC) completa oito anos no próximo dia 21 de fevereiro. Sua criação visa conciliar a conservação da Mata Atlântica e, ao mesmo tempo, a melhoria das condições de vida das populações tradicionais que vivem na área. O patrimônio cultural é igualmente valioso. Em seu território, encontram-se comunidades remanescentes de quilombos, comunidades caiçaras, pescadores tradicionais e pequenos produtores rurais, além um importante patrimônio espeleológico, como a Caverna do Diabo – e um sítio arqueológico, onde foi descoberto o “Homem de Capelinha”, além de belíssimas cachoeiras.



Travessia de balsa no Rio Ribeira de Iguape –
Acesso a Comunidade Quilombola – Créditos – Josenei Gabriel Cará1 de 3



Entre as diversas categorias de UC do MOJAC estão, o Parque Estadual Rio Turvo (PERT), o Parque Estadual Caverna do Diabo (PECD) e a Área de Proteção Ambiental dos Quilombos do Médio Ribeira, todas abertas à visitação, para conhecer essas e outras unidades acesse: http://fflorestal.sp.gov.br/unidades-de-conservacao/parques-estaduais/parques-estaduais/


Diversidade histórica e ambiental

O imenso território do Mosaico de Unidades de Conservação do Jacupiranga era na verdade o Parque Estadual de Jacupiranga (PEJ), criado em 8 de agosto de 1969.

Tombado pelo CONDEPHAAT em 1985 e declarado pela UNESCO como Zona Núcleo da Reserva da Biosfera da Mata Atlântica em 1991 e Sítio do Patrimônio Mundial Natural em 2000, sua área abrangia os municípios de Barra do Turvo, Cajati, Cananéia, Eldorado, Iporanga e Jacupiranga, localizados nas regiões do Vale Ribeira e do Litoral Sul.

Atualmente, o Mosaico conta com sete gestores designados respondendo pela administração conjunta das Unidades, todas com conselhos gestor atuantes, para garantir a visão integrada das questões de conservação, uso público e uso sustentável do território.

As Unidades de Conservação do Mosaico

Três Parques Estaduais, quatro Áreas de Proteção Ambiental, cinco Reservas de Desenvolvimento Sustentável e duas Reservas Extrativistas compõem o Mosaico de Jacupiranga. As divisões do Mosaico existem para um melhor equilíbrio e desenvolvimento entre o homem e o meio ambiente. Abaixo, entenda como cada tipo de Unidade de Conservação funciona.

Os Parques Estaduais (PE) são UCs destinadas para fins de conservação, pesquisa e turismo, podendo ser terrestres e/ou aquáticas. São áreas extensas que agregam proteção integral da fauna, da flora e de suas belezas naturais, com o intuito de utilizar para fins científicos, educacional e recreativo.

A Área de Proteção Ambiental (APA) é um tipo de UC que tem certo grau de ocupação humana. É destinada a conservar e proteger os processos naturais e a biodiversidade, juntamente com a garantia da melhoria de vida da população local. Esse tipo de UC é ainda mais essencial nessa área do Estado de São Paulo, pois a maior concentração de comunidades Quilombolas e Tradicionais se encontram no Mosaico.

A Reserva de Desenvolvimento Sustentável (RDS) é uma UC que tem área natural e abriga comunidades tradicionais. Sua existência é baseada em sistemas sustentáveis de exploração dos recursos naturais. Seu objetivo é preservar a natureza e assegurar a qualidade de vida das populações tradicionais, valorizando, conservando e aperfeiçoando conhecimento e técnicas de manejo do ambiente, que foram desenvolvidos por estas populações.

A Reserva Extrativista (RESEX) é uma UC que tem como objetivos básicos a proteção dos meios de vida e da cultura da população que existe dentro da unidade. É uma área utilizada por populações extrativistas tradicionais, onde a subsistência se baseia na agricultura e na criação de animais de pequeno porte. Por esse motivo, assegurar o uso sustentável dos recursos naturais da unidade é fundamental.





Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.





--in via tradutor do google
Mosaic of Jacupiranga Conservation Units, in the Ribeira Valley and the South Coast, the Atlantic Forest of the State of São Paulo, Brazil.

Composed of 14 conservation units (UC) in various categories, Jacupiranga Mosaic (MOJAC) full eight years next February 21. It was created to reconcile the conservation of the Atlantic Forest and at the same time, the improvement of living conditions of traditional populations living in the area. Cultural heritage is also valuable. In its territory, are remaining quilombo communities, caiçaras communities, traditional fishermen and small farmers, in addition to an important speleological heritage, as the Devil's Cave - and an archaeological site, where it was discovered the "Man of the Chapel" as well of beautiful waterfalls.

ferry crossing the Rio Ribeira de Iguape -
Access to Community Quilombo - Credits - Josenei Gabriel Cará1 3

Among the various categories of UC MOJAC are the State Park Rio Turvo (PERT), the State Park Cave of the Devil (PECD) and the Environmental Protection Area Quilombo Middle Ribeira, all open to visitors, to meet these and other units please visit: http://fflorestal.sp.gov.br/unidades-de-conservacao/parques-estaduais/parques-estaduais/

http://fflorestal.sp.gov.br/unidades-de-conservacao/apas/apas-areas-de-protecao-ambiental-estaduais/

historical and environmental diversity

The immense territory of Jacupiranga Conservation Unit Mosaic was actually the Jacupiranga State Park (PEJ), established in August 8, 1969.

Protected by CONDEPHAAT in 1985 and declared by UNESCO as Zone Center of Atlantic Forest Reserve of the Biosphere in 1991 and the World Natural Heritage Site in 2000, its area covered the municipalities of Barra do Turvo, Cajati, Canaanite, Eldorado, Iporanga and Jacupiranga, located in the regions of Ribeira Valley and the South Coast.

Currently, the mosaic has seven managers designated accounting for joint administration of the units, all with active manager advice to ensure the integrated vision of conservation issues, public use and sustainable land use.

The Mosaic of Conservation Units

Three State Parks, four Environmental Protection Areas five Sustainable Development Reserves and two Extractive Reserves make up the Jacupiranga Mosaic. The Mosaic divisions exist for a better balance and development between man and the environment. Below understand how each type of conservation unit works.

The State Parks (PE) are protected areas intended for purposes of conservation, research and tourism, may be land and / or water. Are extensive areas that add comprehensive protection of fauna, flora and its natural beauty, in order to use for scientific, educational and recreational purposes.

The Environmental Protection Area (APA) is a type of UC that has a certain degree of human occupation. It is designed to conserve and protect natural processes and biodiversity, along with the guarantee of improving the lives of local people. This type of UC is even more essential in this area of ​​the state of São Paulo, as the highest concentration of Quilombo and Traditional communities are in mosaic.

The Sustainable Development Reserve (RDS) is a UC that has natural area and is home to traditional communities. Its existence is based on sustainable systems of exploitation of natural resources. Its goal is to preserve nature and ensure the quality of life of traditional populations, enhancing, maintaining and improving knowledge and environmental management techniques, which were developed by these populations.

The Extractive Reserve (RESEX) is a UC that has as its basic goals the protection of livelihoods and culture of the population that exists within the unit. It is an area used by traditional extractive populations, where livelihood is based on agriculture and the creation of small animals. Therefore, ensure the sustainable use of natural resources of the unit is critical.

Museum of Contemporary Art and Design, Philippines.

Housed within the stunning architecture of the College of Saint Benilde’s School of Design and Art (SDA), designed by local architect Ed Calma, the Museum of Contemporary Art and Design (MCAD) is the only space in Manila and the Philippines that approximates an international contemporary art museum and gallery space. 



Located within an art college, MCAD’s programmes are molded in line with the school’s courses: film, fashion design, animation, multi-media, photography, architecture, as well as music production. In step with this, the MCAD produces outstanding exhibitions with world-wide standards by collaborating with professional artists and curators, both local and international. 


MCAD provides the experience and exposure to contemporary art works, usually only found outside the country. Its contemporary art exhibitions, projects, as well as other cultural and art-inspired undertakings showcase the possibilities of technology and new media through its internationally-designed programme of contemporary art exhibitions enhanced by an ever-widening educational platform. 

MISSION By offering a singular space housed within a school dedicated to the practice of art and design, MCAD creates an environment that allows for exchange of ideas as well as a site for dialogues and pursuits through curated exhibitions. VISION To become a space for the generation of creative ideas outside of the classroom for the School of Design and Art (SDA) in particular, and De La Salle-College of Saint Benilde in general, and as the local hub for international art and design through the initiation, study and interaction with contemporary culture.

-

Michael Lin: Locomotion

Exhibition run: 18 February – 21 May 2016 
Museum of Contemporary Art and Design (MCAD) GF De La Salle College of Saint Benilde, School of Design and Arts Campus, 
Dominga Street, Malate, Manila, Philippines 


Michael Lin: Locomotion is the artist’s first solo presentation in the Philippines. Internationally known for creating monumental site-specific painted installations, Lin’s interventions redesign and reconfigure public spaces, dynamically transforming the way they are perceived by the public. 

A number of his previous projects have re-envisioned unusual sites for display, including a bookstore, tennis court, community hall, and atrium, among others. His aversion to the standard white box setting is a testament that his practice does not merely produce paintings on a flat canvas or as objects. Rather, Lin activate public spaces with specific colors and ornamental patterns while keeping faithful to its contextual purpose and architectural integrity. 

He thus seeks to eliminate the distance between the viewer and a painting, away from an object of contemplation and toward one as an unbounded, interactive and inhabitable space. Created especially for the Museum of Contemporary Art and Design in Manila, Lin envelopes the walls of the galleries with an uninterrupted and fluid floral arrangement. 

Using his signature decorative patterns based on traditional Taiwanese textiles, Lin’s exploration of ornaments and their motifs underscores the artist’s interest in the histories of these designs, especially as it pertains to associations from his childhood and domesticity of everyday life. 

 The imagery adapts and flows on top, through, or in between the nooks and corners of the building, transitioning into different forms—from painting, to drawing, to print—unyielding by the structure’s unique characteristics and multi-textured surfaces.

The subject of the everyday is also an integral source of inspiration to Lin’s work. ForMichael Lin: Locomotion, Lin sources inspiration from Manila’s urban landscape and produces an exchange with pedicab drivers. An avid cyclist, Lin’s interest in inclusive mobility in densely and over populated cities drew his attention to the pedicab—this country’s second most ubiquitous mode of transportation next to the jeepney—and in particular toward the iconography of their cover design, reading them as an emblem belonging to a homegrown subculture of folk art. 

Selected pedicabs adorn the same pattern as the interior walls of the museum thereby metaphorically and physically extending the galleries out into the community and likewise bridging a specific component of our daily life inside the building.

The exhibition is sponsored by Pacific Paints Philippines Inc with support from Bellas Artes Projects.


About the artist
Lin was born in Tokyo and spent his formative years in Los Angeles and Taiwan. His work has been exhibited in major institutions and international Biennials around the world, including the High Museum, Atlanta, Georgia, USA (2015); Rockbund Art Museum, Shanghai, China (2012); Towada Art Center, Aomori, Japan (2011); Vancouver Art Gallery, Canada (2010); Lyon Biennial, France (2009); Guangzhou Triennial, China (20050; Palais de Tokyo, Paris, France (2003); Istanbul Biennial, Turkey (2001); and Venice Biennial, Italy (2001), among many others. He completed an MFA from Art Center College of Design in Pasadena, California USA. Lin lives and works between Shanghai, Taipei, and Brussels.






Fonte: @edisonmariotti #edisonmariotti

http://www.mcadmanila.org.ph/

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.

domingo, 28 de fevereiro de 2016

Museo del Barro es un museo situado en las afueras de Asunción, capital de Paraguay. --- Museo del Barro é um museu localizado na periferia da cidade de Assunção, capital do Paraguai.

El Museo del Barro es una institución privada y también se llama museo de arcilla, como gran parte de su colección son piezas realizadas en barro y arcilla por indíginas tribus. En el lugar también encontramos piezas de cerámica precolombina, sino que también trabaja en materiales de madera, encaje y contemporâne




1972
Olga Blinder y Carlos Colombino crean la Colección Circulante, origen del acervo del MPAC. Este conjunto, al comienzo, solo comprendía grabados y dibujos que se exhibían en exposiciones itinerantes montadas en instituciones educativas y espacios públicos. Al aumentar sus ámbitos por la incorporación de otros soportes como la pintura, los objetos, la escultura y las instalaciones, la colección requirió un sitio de exhibiciones permanentes.

1979
Se empieza a construir la primera edificación del predio ubicado en el barrio Isla de Francia de Asunción. Ese mismo año se crea el Museo del Barro (MdB).

1980
Apertura del local del Museo del Barro en San Lorenzo bajo la iniciativa de Ysanne Gayet, Carlos Colombino y Osvaldo Salerno. Contaba, al abrir sus puertas, con unas 800 piezas de cerámica popular de Ita y Tobatí, confeccionadas en los últimos cuarenta años, así como una colección de cerámica arqueológica de la cultura guaraní.

1983
El Museo del Barro es trasladado a Asunción e incrementa su colección, incluyendo platería, tallas jesuíticas y franciscanas, tejidos y encajes.

1984
Se inaugura la Sala “Josefina Plá” que se empezara a construir en 1979. Este espacio consta de dos plantas y está dedicada a muestras periódicas. 

1987
Se establece el programa del Centro de Artes Visuales (CAV) en el barrio de Isla de Francia, que reunirá en un único predio tres visiones del arte paraguayo: urbano, rural e indígena. 

1988
El Museo del Barro se instala definitivamente en el predio del CAV, realizando su equipamiento con aportes de la Autoridad Sueca para el Desarrollo Internacional (ASDI).

1989 
Se inaugura el nuevo pabellón del Museo Paraguayo de Arte Contemporáneo en el local definitivo del CAV puesto que el aumento del acervo requería un espacio mayor que el de la sala "Josefina Plá". También durante ese año se instituye la fundación "Carlos Colombino Lailla", que acoge el edificio y las diferentes colecciones.

1992
Se inicia la construcción del espacio del Museo de Arte Indígena (MAI) con aportes de la Agencia Española de Cooperación Internacional (AECI). Esta sala se imaginaba con el objetivo de albergar la colección reunida por Ticio Escobar.

1993
Un tornado azota el Centro de Artes Visuales que debe clausurar durante dos años y medio sus actividades por restauraciones. Dicho accidente afectó principalmente al Museo del Barro, por lo cual se desarrolló una campaña de recuperación centralizada en esta dependencia y basada en aportes locales e internacionales, públicos y privados. A partir de los mismos, el edificio pudo acrecentarse hasta duplicar su proyección original y también reformular la organización de sus espacios, anteriormente incomunicados entre sí. Las salas fueron interconectadas para que el visitante pueda ver las colecciones de los tres museos en un recorrido continuo. 

1995
Se reabre el Museo completamente renovado. Se incorporan las instalaciones orientadas a exhibir el acervo del Museo de Arte Indígena, reunido y curado por Ticio Escobar. Con aportes de la Cámara de Senadores del Poder Legislativo, el Centro de Artes Visuales/Museo del Barro desarrolla el programa "Estudiantes al Museo", consistente en visitas guiadas gratuitas de las diferentes colecciones del museo, dirigidas a los sectores estudiantiles del país. Dicho proyecto obtendrá diferentes fondos para su continuidad, dejando de recibir subsidios en el año 2005.

1996
Se incorporan las salas especiales dedicadas a los pintores Ignacio Núñez Soler y Carlos Federico Reyes (Mita'i Churi) y el Gabinete "Florian Paucke". Este último dedicado a muestras temporales de grabado, dibujo y fotografía. El equipamiento de sus instalaciones fue realizado con aportes de la cooperación de Alemania.

2004
Se incorpora el Gabinete del Cabichuí, dedicado a la colección de los xilograbados de los periódicos Cabichuí, El Centinela y Cacique Lambaré.






Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.




--br 
O Museo del Barro é uma instituição particular, também sendo chamado de museu da argila, pois grande parte do seu acervo são de peças feitas em argila e barro por tribos indíginas. No local também encontramos peças de cerâmica pré-colombiana, como também, obras em madeira, rendas e material contemporâne

1972
Olga Blinder y Carlos Colombino crean la Colección Circulante, origen del acervo del MPAC. Este conjunto, al comienzo, solo comprendía grabados y dibujos que se exhibían en exposiciones itinerantes montadas en instituciones educativas y espacios públicos. Al aumentar sus ámbitos por la incorporación de otros soportes como la pintura, los objetos, la escultura y las instalaciones, la colección requirió un sitio de exhibiciones permanentes.

1979
Se empieza a construir la primera edificación del predio ubicado en el barrio Isla de Francia de Asunción. Ese mismo año se crea el Museo del Barro (MdB).

1980
Apertura del local del Museo del Barro en San Lorenzo bajo la iniciativa de Ysanne Gayet, Carlos Colombino y Osvaldo Salerno. Contaba, al abrir sus puertas, con unas 800 piezas de cerámica popular de Ita y Tobatí, confeccionadas en los últimos cuarenta años, así como una colección de cerámica arqueológica de la cultura guaraní.

1983
El Museo del Barro es trasladado a Asunción e incrementa su colección, incluyendo platería, tallas jesuíticas y franciscanas, tejidos y encajes.

1984
Se inaugura la Sala “Josefina Plá” que se empezara a construir en 1979. Este espacio consta de dos plantas y está dedicada a muestras periódicas. 

1987
Se establece el programa del Centro de Artes Visuales (CAV) en el barrio de Isla de Francia, que reunirá en un único predio tres visiones del arte paraguayo: urbano, rural e indígena. 

1988
El Museo del Barro se instala definitivamente en el predio del CAV, realizando su equipamiento con aportes de la Autoridad Sueca para el Desarrollo Internacional (ASDI).

1989 
Se inaugura el nuevo pabellón del Museo Paraguayo de Arte Contemporáneo en el local definitivo del CAV puesto que el aumento del acervo requería un espacio mayor que el de la sala "Josefina Plá". También durante ese año se instituye la fundación "Carlos Colombino Lailla", que acoge el edificio y las diferentes colecciones.

1992
Se inicia la construcción del espacio del Museo de Arte Indígena (MAI) con aportes de la Agencia Española de Cooperación Internacional (AECI). Esta sala se imaginaba con el objetivo de albergar la colección reunida por Ticio Escobar.

1993
Un tornado azota el Centro de Artes Visuales que debe clausurar durante dos años y medio sus actividades por restauraciones. Dicho accidente afectó principalmente al Museo del Barro, por lo cual se desarrolló una campaña de recuperación centralizada en esta dependencia y basada en aportes locales e internacionales, públicos y privados. A partir de los mismos, el edificio pudo acrecentarse hasta duplicar su proyección original y también reformular la organización de sus espacios, anteriormente incomunicados entre sí. Las salas fueron interconectadas para que el visitante pueda ver las colecciones de los tres museos en un recorrido continuo. 

1995
Se reabre el Museo completamente renovado. Se incorporan las instalaciones orientadas a exhibir el acervo del Museo de Arte Indígena, reunido y curado por Ticio Escobar. Con aportes de la Cámara de Senadores del Poder Legislativo, el Centro de Artes Visuales/Museo del Barro desarrolla el programa "Estudiantes al Museo", consistente en visitas guiadas gratuitas de las diferentes colecciones del museo, dirigidas a los sectores estudiantiles del país. Dicho proyecto obtendrá diferentes fondos para su continuidad, dejando de recibir subsidios en el año 2005.

1996
Se incorporan las salas especiales dedicadas a los pintores Ignacio Núñez Soler y Carlos Federico Reyes (Mita'i Churi) y el Gabinete "Florian Paucke". Este último dedicado a muestras temporales de grabado, dibujo y fotografía. El equipamiento de sus instalaciones fue realizado con aportes de la cooperación de Alemania.

2004
Se incorpora el Gabinete del Cabichuí, dedicado a la colección de los xilograbados de los periódicos Cabichuí, El Centinela y Cacique Lambaré.

Anno museum is one of the largest museums in Norway. --- Anno museu é um dos maiores museus da Noruega.

It includes most of the museum campuses in Hedmark county – from individual buildings of local interest to museums of national importance. All together, the organization has a staff of 130, a collection of approximately 170,000 artifacts, some 4,3 million photographs (some of which are digitalized and available at www.digitaltmuseum.no) a significant oral history collection, and some 250,000 visitors annually. 



The museum’s outdoor areas have about 500 historical buildings all told, forming the largest open-air museum in Norway. This includes the largest collectionof antiquarian buildings in the country. Guided by our vision «Know the past-involve thepresent«, we collect, conserve and display a wide range of Norwegian cultural and natural history, of local,regional, national and international significance.

Anno Museum is organized as a limited company, were Hedmark County is the biggest shareholder, holding 35 %. The eight consolidated museums have interestsranging from 3%to 12%.

“Know the past – involve the present”



Anno museum includes most of the museum campuses in Hedmark. Below you can see a presentation of our venues. In addition we are establishing a new Documentation Centre, which will include workshops for concervators and photograpers, artifacts storage facilities and offices.









Fonte: @edisonmariotti #edisonmariotti

http://en.annomuseum.no/

Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.





Auckland War Memorial Museum stands on the hill known by Māori as Pukekawa., New Zealand.

The history of Auckland Museum



The founding and building of Auckland Museum

Auckland War Memorial Museum stands on the hill known by Māori as Pukekawa.

It has occupied this site since 1929 when subscriptions raised by Aucklanders in remembrance of their war dead and enabled the construction of what is considered one of New Zealand's finest heritage buildings.

To this day, Auckland War Memorial Museum is a touchstone of remembrance for families and returned service personnel who wish to honour their loved ones and fallen comrades.

Prior to 1929, Auckland Museum occupied premises in central Auckland, beginning life in a two-room farm cottage in the suburb of Grafton. With one room for the Museum's fledgling collections and one room for the curator, New Zealand's first Museum soon outgrew this site, relocating to what was the Provincial Council Building in 1867 before moving once again to the old Post Office building in Princes Street three years later.


Auckland Museum's third home, in the old Post Office in Princes Street.Auckland War Memorial Museum - Tāmaki Paenga Hira. C 14942.

The Museum's first custom-built premises, to which it moved in 1876, were just along the road on Princes Street. Under the guidance of the visionary curator, Thomas Cheeseman, the Museum and its collections flourished, necessitating a further move and the commissioning of a world-wide architectural competition to design a new Museum for Auckland which would be combined with a war memorial to commemorate soldiers lost in World War I.


The vacated premises in Princes Street in the early 1930s after Auckland Museum moved to the Domain.Auckland War Memorial Museum - Tāmaki Paenga Hira. C 14942. M752/23A-24A

Funded by the Institute of British Architects, a £1,000 sterling prize drew over 70 entries, with Auckland firm Grierson, Aimer and Draffin winning the competition with their neo-classical building reminiscent of Greco-Roman temples.

Crafted from Portland stone and designed to reflect the heroic valour of the New Zealand soldier and the 'classical' tragedy of battles such as Gallipoli, the Museum's colonnades are said to be almost an exact replica of the Parthenon's in Greece.

In the building's foreground is the consecrated ground of the Court of Honour and the Auckland Cenotaph (empty tomb). The first Cenotaph was a temporary structure of wood and plaster; built and designed by Sir Edwin Luytens at Whitehall, London for the Peace Day events of July 1919. Luytens designed an empty tomb on a pedestal in stark severity, without decoration or religious symbols and inscribed to 'The Glorious Dead'. The Cenotaph captured the grief of an Empire unable to bring home their war dead and subsequently a permanent Portland stone monument was built for the first anniversary of the Armistice in 1919 as a lasting memorial. The Auckland Cenotaph was copied from cinema newsreels as the blueprints for the original Whitehall design were deemed too expensive for their purchase.

The official opening and consecration ceremony for Auckland War Memorial Museum was held on 28 November 1929. The total cost of the building was NZP250,000.

After World War II, the building was extended to encompass war memorials for the over 4,000 Aucklanders who lost their lives in the second world war, and the growing need for space for the Museum's collections. The semicircular extension at the rear of the building was opened in 1960, providing two thirds more floor space and the World War II Hall of Memories which now also encompasses the names of those lost in subsequent 20th Century conflicts.
Recent developments

By the early 1990s the Museum was suffering from several decades of neglect and under funding. The building itself was in need of repair, its services were malfunctioning and its exhibitions were old-fashioned and run down.

Changes in legislation, governance and management were introduced and a first stage of refurbishment and strengthening of the building, replacement of services, and replacement of exhibitions was undertaken from 1994 to 1999. At the end of that five year period the Museum had been transformed. 

The War Memorial function, too, had been developed; with the Scars on the Heart exhibitions, the 'Armoury' and services such as the Centotaph database, an extraordinarily powerful research tool combining various resources to provide the most comprehensive record of New Zealand services personnel in action.

But the 1994 to 1999 first stage works had shown that major new developments were necessary for the Museum to be equipped to enter the twenty-first century. In 2000 a second stage project was born, and in 2003 construction got underway. The second stage project increased the Museum's floor area by 60%, providing collection storage, workshops, educational amenities, exhibition and visitor services, a theatre, curatorial amenities and an events centre.


The second stage works were completed in December 2006, closing the door on twelve continuous years of refurbishment, redevelopment and building. The new development, which extends over seven storeys in the former southern courtyard, is characterised by a suspended bowl-shaped building clad in Fijian Kauri, which 'hovers' within the courtyard, and a rippling glass and copper dome which sits astride it.

The new additions which set themselves apart from the earlier architecture but Architect Noel Lane, who was responsible for the Museum's first stage refurbishments, continued his vision for the Museum with the design of the Atrium. It is, he said, a logical extension of the groundwork that was completed with Stage I. However, while the first stage dealt mainly with the refurbishment of gallery space, the second stage added a new dimension to one of Auckland's most significant buildings.

"There were three important considerations for Stage II: structural isolation, minimum floorplate and maximum usage", says Lane. "The roof is sympathetic in scale and form to the museum, but it's not part of the original structure. It sits comfortably, but doesn't weigh on the building's classical form."
Decorative elements of the building


The northern face of Auckland War Memorial Museum during its construction in the 1920s. Part of Pericles' Oration is inscribed on stonework above the colonnade.© Auckland War Memorial Museum - Tāmaki Paenga Hira, AM93-A891-1-3.

One of the most beautiful elements of the building is the frieze that runs around the top of the exterior of the building. Each picture depicts a different scene from the First World War or, on the extension, the Second World War. All the armed services are represented.

Engraved above each window on the original building is the name of a battle in which New Zealanders fought. These include Passchendaele, where two of the architects were wounded. On the west side a memorial fountain commemorates the campaign in Palestine and lists the principal engagements. The east side features an identical commemoration of Gallipoli. The north elevation of the Museum includes an inscription from Pericles’ funeral oration (Māori translation available).

The bronze doors of the main entrance are decorated with a poppy design. Poppies now symbolise death in war because these flowers sprang up on European fields where trenches were dug and soldiers buried - the seeds lying dormant until the earth is disturbed. The poppy motif is repeated throughout the interior of the Museum.

At ground level the floor of the central entrance hall is made of terrazzo (marble chips embedded in concrete to form elegant patterns). It depicts a compass, which tells you the directional orientation of the building the front entrance faces due North towards the sea.






Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.