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terça-feira, 26 de janeiro de 2016

Государственный этнографический музей "Сардарапат". --- State Ethnographic Museum "Sardarapat". --- Ազգագրական թանգարան, «Սարդարապատ». --- Museu Etnográfico do Estado "Sardarapat".

Государственный этнографический музей “Сардарапат” построен в 1978 году на месте героической битвы Сардарапата в мае 1918 года, во время которой благодаря упорной борьбе армянских солдат с турецкими отрядами, была одержана блистательная победа. 


После Октябрьской революции, турецкая армия, воспользовавшаяся отбытием русской армии домой, нарушила военное перемирие Ерзнка и намерелась осуществить план захвата не только Западной, но и Восточной Армении. Однако 22-26 мая турецкая армия была полностью разгромлена; в бой вступили абсолютно все: и старики, и женщины, и дети.

По замыслу архитектора Рафаэля Исраеляна влево от мемориального комплекса “Сардарапат” был построен данный музей. Строение сделано из красного туфа. С наружной части двухэтажное строение имеет два угловых окна: одно - направленное в сторону горы Арарат, а другое – Арагац; ни единого окна с фасада. У входа в музей находится вишап - древнее мифологическое существо, дух воды. Большие залы, находящиеся внутри помещения, освещаются окнами из внутренних двориков. Сменяющие друг друга залы расположены по периметру двухэтажного здания. Они словно слиты в одном объеме и создают завершенную целостную композицию. Однотонный мрамор залов музея, высокие стены потрясают своей красотой. Центральная зала здания покрыта арочным сводом, повторяющим вид традиционного купольного армянского жилища. Основной целью строительства государственного этнографического музея “Сардарапат” было сохрание материалов, касающихся майской битвы. Центральная зала посвящена именно тем событиям, а также истории создания первой Республики Армения. В музее представлены также предметы материальной культуры Армении разных периодов: от предметов бронзового века до народных костюмов и ковров XX века, что позволяет составить представление о развитии ремесла, особенностях быта армянского народа в разные эпохи. 

Этот музей является частью мемориального комплекса Сардарапат, и вблиз можно увидеть довольно большую площадь, в которой находятся звонница, крылатые быки, стоящие с левой и правой стороны, аллею орлов, ведущую к Этнографическому музею. Комплекс был построен в мае 1968 года в честь разгрома турецкой армии 26 июня 1918 года, 50-ой годовщины этой исторической битвы. Этот мемориал считается одним из самых замечательных строений современности.








--in via tradutor do google
State Ethnographic Museum "Sardarapat". ---

State Ethnographic Museum "Sardarapat" built in 1978 on the site of the Battle of Sardarapat heroic in May 1918, during which thanks to the hard struggle of Armenian soldiers from the Turkish troops, was won a brilliant victory.

After the October Revolution, the Turkish army, availing itself of the departure of the Russian army home, the military violated the truce Erznka namerelas and implement a plan to capture not only the West, but also in Eastern Armenia. However, on May 22-26, the Turkish army has been completely destroyed; in the battle to take absolutely everything: the elderly, women and children.

As conceived by the architect Rafael Israelian left of the memorial complex "Sardarapat" was built by the museum. The structure is made of red tuff. On the outside of the two-storey building has two corner windows: one - directed towards Mount Ararat, and another - Aragats; single window facade. At the entrance to the museum is Vishaps - ancient mythological creature, the spirit of water. Large halls inside the room, illuminated windows of the patio. Successive rooms are located on the perimeter of the two-storey building. They seemed merged into one volume and create a complete integrated composition. Solid marble halls of the museum, high walls shake their beauty. The central hall of the building is covered with an arched vault, repeating the traditional view of the dome of Armenian homes. The main purpose of the construction of the State Museum of Ethnography "Sardarapat" was to preserve materials related to the May battle. The central hall is devoted to the events, as well as the history of the First Republic of Armenia. The museum also presents artefacts Armenia from different periods: from the Bronze Age to the objects of folk costumes and carpets of the XX century, which gives an idea about the development of the craft, the features of everyday life of the Armenian people in different eras.

This museum is part of the memorial complex of Sardarapat, and near you can see quite a large area, which houses the belfry, winged bulls, standing on the left and right side, eagles alley leading to the Ethnographic Museum. The complex was built in May 1968 after the defeat of the Turkish army of 26 June 1918, the 50th anniversary of this historic battle. This memorial is considered one of the most remarkable buildings of today.





--armenio via tradutor google
Ազգագրական թանգարան, «Սարդարապատ». ---

Ազգագրական թանգարան, «Սարդարապատ», կառուցվել է 1978 թ կայքում Սարդարապատի հերոսամարտի հերոսամարտի ի մայիսին 1918 թ, որի ընթացքում շնորհիվ ծանր պայքարի հայ զինվոր է թուրքական զորքերի էր հաղթել փայլուն հաղթանակ.

Հոկտեմբերյան հեղափոխությունից հետո, թուրքական բանակը, որն օգտվում իրեն հեռանալուց ռուսական բանակի տանը, ռազմական խախտել է զինադադարի Երզնկա namerelas եւ իրականացնել մի ծրագիր է գրավել ոչ միայն Արեւմուտքի, այլեւ Արեւելյան Հայաստանում: Սակայն, մայիսի 22-26-ը, թուրքական բանակը լիովին ոչնչացվել. է ճակատամարտում է բացարձակապես ամեն ինչ, ծերերի, կանանց եւ երեխաներին:

Որպես բեղմնավորված է ճարտարապետ Ռաֆայել Իսրայելյանը մնացել հուշահամալիրի «Սարդարապատ» կառուցվել է թանգարանում. Կառուցվածքը պատրաստված է կարմիր տուֆից: Ին դուրս է երկհարկանի շենքի ունի երկու անկյուն պատուհանները: Մեկ - ուղղված Արարատ լեռան, եւ եւս Արագած. մեկ պատուհանի ճակատը. At մուտքի թանգարանի Vishaps - հին առասպելական արարած, ոգին ջրի. Խոշոր դահլիճներ ներսում սենյակում, լուսավորված պատուհանները բակում. ՀԵՐԹԱԿԱՆ սենյակները գտնվում են պարագծային է երկու հարկանի շենքում. Նրանք կարծես միացվել են մեկ ծավալը եւ ստեղծել ամբողջական միասնական կազմը. Պինդ մարմարի սրահները թանգարանի բարձր պատերը թափահարում են իրենց գեղեցկությունը. Կենտրոնական դահլիճը շենքի ծածկված է կամարակապ կրկնօրինակները, կրկնելով ավանդական տեսակետը գմբեթի հայկական տները. Հիմնական նպատակն է շինարարության պետական ​​թանգարանի ազգագրության «Սարդարապատ» էր պահպանել նյութերը հետ կապված մայիսի պայքար. Կենտրոնական դահլիճը նվիրված է միջոցառումներին, ինչպես նաեւ պատմության Հայաստանի Առաջին Հանրապետության: Թանգարանը ներկայացնում է նաեւ artefacts Հայաստան տարբեր ժամանակաշրջանների: Սկսած բրոնզի օբյեկտների ժողովրդական տարազներով եւ գորգերի է XX դարում, որը թույլ է տալիս պատկերացում զարգացման գործում նավեր, հատկանիշները առօրյա հայ ժողովրդի տարբեր eras.

Այս թանգարանը մի մասն է հուշահամալիրի Սարդարապատի, եւ մոտ դուք կարող եք տեսնել, բավականին մեծ տարածք, որը տները զանգակատունը, թեւավոր ցուլ, կանգնած է ձախ եւ աջ կողմում, արծիվներ ծառուղում տանող ազգագրական թանգարանում. Համալիրը կառուցվել է մայիսին 1968 թ. Պարտությունից հետո, թուրքական բանակի 26 հունիսի 1918, 50-րդ տարեդարձին: Այս պատմական ճակատամարտում. Այս հուշահամալիրը, որը համարվում է առավել ուշագրավ շենքերի այսօր.



--br via tradutor do google
Museu Etnográfico do 
Estado 
"Sardarapat".

Estado Museu Etnográfico "Sardarapat" construído em 1978 no site da Batalha de Sardarapat heróico maio 1918, durante o qual, graças à dura luta de soldados armênios das tropas turcas, foi uma vitória brilhante.

Depois da Revolução de Outubro, o exército turco, valendo-se da saída da casa exército russo, os militares violaram a trégua namerelas Erznka e implementar um plano para capturar não só o Ocidente, mas também no leste da Armênia. No entanto, em maio 22-26, o exército turco foi completamente destruída; na batalha para levar absolutamente tudo: os idosos, mulheres e crianças.

Tal como concebido pelo arquitecto Rafael Israelian esquerda do complexo memorial "Sardarapat" foi construído pelo museu. A estrutura é feita de tufo vermelho. No lado de fora do prédio de dois andares tem duas janelas de canto: um - voltada para o Monte Ararat, e outro - Aragats; fachada única janela. Na entrada para o museu é Vishaps - antiga criatura mitológica, o espírito da água. Grandes salões dentro da sala, iluminado janelas do pátio. Sucessivos quartos estão localizados no perímetro do edifício de dois andares. Eles pareciam fundidos em um só volume e criar uma composição completa e integrada. Salões de mármore sólidas do museu, muros altos agitar sua beleza. O hall central do edifício é coberto com uma abóbada arqueada, repetindo a visão tradicional da cúpula casas armênias. O principal objetivo da construção do Museu do Estado de Etnografia "Sardarapat" era preservar materiais relacionados com a batalha de Maio. O hall central é dedicado aos eventos, bem como a história da Primeira República da Arménia. O museu também apresenta artefatos Arménia de diferentes períodos: a partir da Idade do Bronze até os objetos de trajes folclóricos e tapetes do século XX, o que dá uma idéia sobre o desenvolvimento do artesanato, as características da vida cotidiana do povo arménio em diferentes eras.

Este museu faz parte do complexo memorial de Sardarapat, e perto você pode ver uma área bastante grande, que abriga o campanário, touros alados, de pé no lado esquerdo e direito, águias beco que leva ao Museu Etnográfico. O complexo foi construído em maio de 1968, após a derrota do exército turco de 26 de Junho de 1918, o 50º aniversário desta histórica batalha. Este memorial é considerado um dos edifícios mais notáveis ​​de hoje.

Une tête khmère du musée Guimet rejoint son corps d’origine à Phnom Penh

Les fragments d’origine de deux statues millénaires khmères sont en cours d'échange entre le musée Guimet et le musée national du Cambodge. Cette restitution résulte d’un accord d'«échange de dépôt» entre les deux établissements.


La tête de la statue Harihara, le 19 Janvier 2016, à laquelle un employé du musée national de Phnom Penh attache un socle en bois.© AFP PHOTO / TANG CHHIN SOTHY


Ce n'est pas la première fois qu'une effigie khmère acéphale retrouve sa tête par le plus grand des hasards. Le 21 janvier 2016, c'est la tête d'Harihara qui a rejoint son buste d'oirigine au musée national de Phnom Penh, au milieux des visiteurs qui se bousculent pour l'admirer.

Harihara, divinité hindoue
La tête de cette divinité féminine hindoue du VIIe siècle, réunissant sous une forme anthropomorphe les aspects de Vishnu et de Shiva, était conservée depuis la fin du XIXe siècle au Musée national des arts asiatiques Guimet (Mnaag). Elle fait partie d'un ensemble de sculptures collectées dans des monastères en ruine en 1874 et 1882 dans le sud du Cambodge et présentées à l'Exposition universelle de 1889 à Paris.


D’ici au mois de mars 2016, ce sera au tour d'une autre sculpture de divinité khmère, Devi, épouse de Shiva, de retrouver ses chevilles, pieds et piédestal. Ces fragments manquants, qui complètent une oeuvre détenue par Guimet, ont été découverts récemment sur le site de Koh Ker, a souligné Thierry Zéphir, ingénieur d'études du musée parisien. La statue du Xe siècle reconstituée sera bientôt exposée à Guimet.

Les fragments échangés demeurent la propriété de leur musée d'origine, a précisé M. Zéphir. La convention d'échange a été signée pour une durée de cinq ans, a précisé Cambodge Post.

Dès 1955, l'historien et archéologue Pierre Dupont avait évoqué une hypothèse de rapprochement entre la tête d'Harihara et un corps acéphale retrouvé à la fin du XIXe siècle sur le site du Phnom Da, et envoyé au musée de Phnom Penh en 1944. Un moulage a confirmé que cette tête s'ajustait parfaitement sur le reste du corps conservé dans la capitale cambodgienne.

La cité mythique de Mahendraparvata
Une autre aventure archéologique a ammené récemment des archéologues français à penser qu'ils avaient découvert, à 40 km d'Anghor, grâce à une prospection au laser à haute fréquence, la présence de vestiges repérés dès le début du XXe siècle.

Il s'agirait, selon eux, de la capitale Mahendraparvata, la mytique capitale de l'ancien Empire khmer qui représenterait 100 km2 de rues et de temples, disparus sous la végétation, rapporte Le Monde. Seuls les sanctuaires en pierre ou en brique ont résisté à la mousson et aux thermites, indique le journal.


fonte: @edisonmariotti #edisonmariotti


Cultura e conhecimento são ingredientes essenciais para a sociedade.

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


Vamos compartilhar.

Un Français à la tête du Musée Benaki à Athènes.

Il est visiblement heureux et en même temps un peu nerveux. Attablé à un café du très chic quartier de Kolonaki, en plein cœur d’Athènes, Olivier Descotes s’apprête à rencontrer les 180 employés du groupe de musées Benaki (neuf lieux répartis à travers toute la Grèce, dont cinq ouverts au public à Athènes), l’un des plus beaux outils culturels du pays, et il sait qu’il va devoir convaincre. Ce Français de 39 ans vient d’être nommé à la tête du Benaki et succède ainsi à Angelos Delivorias, qui a dirigé l’institution pendant quarante et un ans.



Le Musée Benaki, fondé en 1930 par le riche négociant Antonis Benakis, et cédé la même année à l’Etat grec, s’est longtemps résumé au seul hôtel particulier néoclassique situé face au jardin national d’Athènes. Un beau lieu, une pause agréable dans le rythme trépidant du centre-ville. Et des œuvres qui reviennent sur 5 000 ans d’histoire grecque mais donnent surtout à voir le cosmopolitisme d’une époque. Car Antonis Benakis avait construit une collection éclectique allant de l’Antiquité à l’art byzantin en passant par la période ottomane ou la guerre d’indépendance (1821-1829), et à laquelle se sont ajoutées...


fonte: @edisonmariotti #edisonmariotti


Cultura e conhecimento são ingredientes essenciais para a sociedade.

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

Vamos compartilhar.

L’artiste qui s’est exposée nue au musée d’Orsay raconte: “Ce n’était pas un strip-tease mais bien une performance”. --- The artist who is exposed naked to the Orsay museum tells: "It was not a striptease but a performance."

Samedi 16 janvier, Déborah de Robertis, 31 ans, se mettait nue devant L’Olympia de Manet au musée d’Orsay, un an après avoir exposé son sexe sous L’Origine du monde de Courbet. Placée en garde à vue suite à la plainte de l’établissement, l’artiste luxembourgeoise a écopé d’un rappel à la loi. Rencontre un froid matin de janvier autour d’un café.




Comment l’idée vous est-elle venue ?

Déborah de Robertis- Ce n’était pas un strip-tease, mais bien une performance, un droit de réponse même. Ça fait longtemps que je travaille sur le modèle féminin. Ce qui m’intéresse c’est de me mettre dans une position a priori passive, et de renverser le point de vue en filmant de ma position justement. Ce sont aussi les procédures du musée qui m’intéressent énormément, le rapport à l’institution, à la loi.

Etait-ce aussi un moyen de questionner le regard masculin sur le corps féminin ?

Oui, mais ça ne se limite pas à ça. Ma performance pose des questions sur les rapports de pouvoir. Se mettre nu, c’est vraiment accessoire, c’est presque la chose la plus facile de la performance. Les gens pensent que c’est le coeur, mais non, ce n’est pas un strip-tease. Ce qui m’intéresse c’est la confrontation. Dans cette performance, la nudité est mon vêtement, celui qui me permet de représenter au mieux le tableau L’Olympia. La performance consiste à faire durer la pose, tout en gérant toutes les choses qui vont se mettre sur mon chemin. Et ça ne s’arrête pas au public, ça peut aller jusqu’à un procès. Ce qui m’attire, c’est aussi l’image que ça crée. Si je pouvais avoir accès à des images tournées par des caméras de surveillance, ça serait la plus belle pièce selon moi. C’est aussi, bien sûr, une mise en abîme du tableau, qui repose certaines questions très anciennes comme le scandale de la nudité, mais en intégrant des problématiques contemporaines.

Lesquelles ?

Celle de la nudité dans l’espace public. Je n’ai pas de réponses à ça, je me contente de poser un geste. Mais c’est certain que lorsqu’on prend position dans l’espace public de cette façon, on provoque quelque chose. C’est cette confrontation-là, et peu importe la forme qu’elle prend, que ce soit la lecture d’un texte ou la nudité, qui pour moi constitue la performance. Une fois le geste posé, les choses t’échappent au final.

Pourquoi vous mettre dans la position du modèle et non de l’artiste peignant le tableau?

J’ai toujours adopté la position du modèle nu. Pendant mes études, j’ai travaillé dans un club de strip-tease. J’avais cette position de femme regardée, de femme-objet, un peu comme un tableau. J’étais sur un podium. J’ai très vite été fascinée par cet angle de vue, cette position, ce point de vue de la strip-teaseuse sur les clients, sur la structure du club. C’est en étant le plus visible, en position surélevée par rapport aux clients que je pouvais le mieux voir ce qui m’intéressait : le fonctionnement du club, les codes, les clients. C’est une position très visible mais à la fois presque une planque. J’ai bien aimé ce rapport paradoxal.

Votre travail déborde du cadre de la simple performance ?

Oui, le principal c’est de rendre compte du point de vue du modèle. Et je pense que les médias font partie de la performance.

Comment s’est organisée cette dernière performance ?

J’ai casté 15 personnes, que j’ai placées dans le public. Ils étaient chargés d’expliquer la performance aux spectateurs, d’improviser aussi. Je leur avais par exemple dit d’applaudir quand ça deviendrait tendu, comme lors de ma première performance. Je ne veux pas faire peur au public, ni créer de panique. L’important pour moi c’est donc de canaliser leur énergie de façon positive. Et ça marche. Le public ne part pas, n’a pas l’air choqué. Les seuls qui me chassent ce sont les vigiles, et c’est leur boulot. Je n’arrêtais pas de demander à voir le directeur, une manière de recréer une forme de confrontation, de face à face. Je travaille le truc pour que ça ne soit pas agressif. Je lui avais envoyé une lettre pour qu’il soit capable de prendre position intellectuellement. Ce n’était pas une autorisation, car je ne pense pas qu’un artiste doive demander d’autorisation, ça me parait étrange. Ça veut dire qu’on te dit non, tu ne le fais pas, ce qui n’a pas de sens. Un texte a été distribué dans la salle et les performeurs expliquaient l’action aux gens. Personne n’était dans l’ignorance. C’est le plus important.

Ce n’est quand même pas anodin de se mettre nu dans l’espace public… Des enfants auraient pu être choqués par exemple.

Je suis dans la confrontation, le face à face, mais la nudité telle que je la présente n’est pas choquante à mon sens pour un enfant. Ce n’est pas une exhibition mais un geste artistique pour moi. C’est une nudité publique, il n’y a aucune intimité.

Quelle différence voyez-vous entre exhibition sexuelle et geste artistique?

C’est la démarche artistique, la réflexion, la curiosité. Il me semble que l’exhibition sexuelle est par définition quelque chose de sexuel. Je me sens plus comme une fille qui va sauter à l’élastique que comme quelqu’un qui recherche un plaisir sexuel. Je n’en prends aucun. D’ailleurs, je suis plutôt pudique, je me fais violence pour faire ça. La seule émotion que j’éprouve c’est l’adrénaline, mais c’est plus proche d’un sportif. Il y a une grande différence de positions entre un exhibitionniste et un artiste et cette différence est fondamentale. Les artistes et les militants vont dans le sens de la vie, de la construction, du mouvement. Si on ne fait pas la différence entre une pulsion de vie et une pulsion destructrice, un geste d’agression, c’est grave.

La nudité est-elle une arme politique ?

Montrer son corps nu est une réflexion qui peut avoir une portée politique. Mais ce n’est pas tant le corps qui est politique, que la réflexion qu’il entraine. Tout artiste, nu ou habillé, a une portée politique.

Avez-vous eu peur?

Oui, de l’inconnu. Mais c’est une démarche instinctive, quasiment viscérale pour moi. Je crois que ce qui me fait peur aussi c’est l’humiliation : que le geste ne soit pas compris, que les articles tombent dans le sexisme… me retrouver dans une position que je n’ai pas choisie, ça, ça me fait peur.

Avez-vous été surprise de la réaction du musée ?

Je ne m’attendais pas du tout à ce qu’ils me reconnaissent dès mon arrivée. Là, ça a été une vraie forme de mise à nu. Je me suis retrouvée à mettre ma GoPro devant eux, et à prendre position devant le tableau en sachant qu’ils allaient tout de suite intervenir. Ils m’ont effectivement caché directement. Là, oui, j’ai ressenti un échec. Mais ensuite, quand j’ai vu les images, j’ai vu que c’était beau, très parlant. Ça a été pareil avec la première performance, où une femme s’était posée devant moi, transformant l’action en un face à face entre moi les jambes écartées et son corps habillé à elle.

Pourquoi avoir exposé votre sexe sous L’Origine du monde en 2014 ?

C’est un geste qui est considéré comme pornographique, alors que pour moi c’est juste graphiquement beau. Symboliquement, c’est une positon magnifique. C’était un geste d’ouverture, de réappropriation, de naissance. Pourquoi serait-il forcément vulgaire ? En Irlande, il existe des gargouilles dans certaines églises, appelées les Sheela Na Gig, qui ouvrent leurs sexes de femmes afin de protéger du mauvais esprit,des démons. C’est un mouvement qui a une grande puissance.

Comment vous est venue l’idée d’exposer votre sexe ?

J’ai commencé par prendre des photos de mon sexe devant des oeuvres dans des galeries, sans consciemment faire le lien avec le tableau. Il fallait que je me sente vraiment sure de moi pour prendre cette positon sous ce tableau. A un moment, ça m’a paru évident de faire le rapprochement avec L’Origine du monde. Je voulais que ce geste soit vu à travers le prisme, le cadre de L’Origine du monde. Si on ne voit pas mon geste à travers le tableau, on le place dans l’exhibition, dans la pornographie.

Pourtant, l’association avec l’érotisme voire la pornographie n’est pas si étonnante…

Ce n’est juste pas le même objet pour moi. Je conçois que ça puisse être excitant de regarder ces images, mais c’est important que ça reste ancré dans une réflexion.

Pourquoi avoir choisi L’Olympia ?

Je ne pouvais pas prendre un autre tableau car le modèle de celui-là regarde le public droit dans les yeux. Je trouvais ça, aussi, pertinent de faire un droit de réponse au musée d’Orsay, qui avait déjà porté plainte la première fois, une suite à la première performance.

Est-ce une critique de l’institution muséale ?

Je ne suis pas dans la critique, dans la dénonciation. Comme le dit la philosophe Geneviève Fresse, dénoncer les stéréotypes contribue à les faire exister. C’est important d’être dans un geste d’émancipation, je me situe dans la construction.

Comprenez-vous leur réaction ?

Pas tellement. Je leur ai envoyé une lettre vingt minutes avant pour leur permettre de réagir. Je ne pouvais pas faire plus sinon on m’aurait bloqué l’accès à l’entrée. J’ai aussi demandé à parler au directeur pour arrêter le jeu avec les vigiles. Si tu caches quelqu’un c’est plus effrayant que si tu laisses l’artiste nu sous un tableau. J’avais le corps maquillé, je portais une perruque… Je ressemblais à tout sauf à une exhibitionniste.

Que pensez-vous des Femen ?

Ce n’est pas parce qu’on est nues qu’on dit la même chose. Après, on fait partie de la même époque et je trouve qu’elles ont inventé un modèle intéressant et contemporain dans la représentation. Elles ont créé une imagerie intéressante, elles ont fait bouger les modèles.






fonte: @edisonmariotti #edisonmariotti


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
The artist who is exposed naked to the Orsay museum tells: "It was not a striptease but a performance."
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Saturday, January 16, Deborah de Robertis, 31, began naked in front of Manet's Olympia Musée d'Orsay, a year after stating his sex in The Origin of the World Courbet. Placed in custody following the complaint of the institution, the Luxembourg artist was sentenced to a reminder of the law. Meet a cold January morning over coffee.
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How did the idea come to you?

Déborah of Robertis- It was not a striptease, but a performance, the same right of reply. How long have I been working on the female model. What interests me is to put myself in a position a priori passive, and overthrow the view by filming my position precisely. These are also the procedures of the museum that interests me enormously, the report to the institution, to the law.

Was it also a way of questioning the male gaze on the female body?

Yes, but it is not limited to that. My performance raises questions about power relations. Getting naked is really incidental, it is almost the easiest thing in performance. People think this is the heart, but no, this is not a striptease. What interests me is the confrontation. In this performance, nudity is my garment, one that allows me to best represent the work L'Olympia. The performance is to take the pose, while managing all the things that will get in my way. And it does not stop the public, it can go to a trial. What attracts me is also the image that it creates. If I could have access to images filmed by surveillance cameras, it would be the best room in my opinion. It is also, of course, a setting in abyss of the table, based some very old issues like the scandal of nudity, but incorporating contemporary issues.

Which ones?

That of nudity in public places. I have no answers to that, I just do something. But it is certain that when we take a position in the public space in this way, it causes something. It is this confrontation there, and whatever form it takes, whether it's reading a text or nakedness, which for me is the performance. Once the act committed, things escape you in the end.

Why put yourself in the position of the model and not the artist painting the picture?

I have always taken the position of the nude model. During my studies, I worked in a strip club. I had watched this position of women, women as objects, much like a painting. I was on a podium. I soon became fascinated by this angle, this position, this view of the stripper on customers, on the structure of the club. It is by being more visible, in an elevated position relative to the customers that I could best see what interested me: club operations, codes, customers. This is a very visible position but both almost a hideout. I liked this paradoxical report.

Your work is beyond the scope of mere performance?

Yes, the main thing is to account in terms of the model. And I think the media are part of the performance.

How was it organized performance?

I casted 15 people, which I placed in the public. They were responsible for explaining the performance to the audience, improvise too. I had given them such words of cheer when it would become tense, as in my first performance. I do not want to scare the public, or create panic. The important thing for me is to channel their energy in a positive way. And it works. The public does not leave, not shocked. The only ones who hunt me are the guards, and it is their job. I kept asking to see the manager, a way to recreate a form of confrontation, face to face. I work the trick to it is not aggressive. I sent him a letter for him to be able to take a position intellectually. It was not an authorization, because I do not think that an artist should ask permission, it seems strange to me. That means we told you no, you do not do, which is meaningless. A text was distributed in the room and the performers explain the action to people. Nobody was in ignorance. It is the most important.

It is still not trivial to be naked in public space ... Children might have been shocked by example.

I'm in the confrontation, face to face, but the nudity as I this is not shocking I think for a child. This is not an exhibition but an artistic gesture for me. It is a public nudity, there is no privacy.

What difference do you see between sexual exhibitionism and artistic gesture?

It is the artistic approach, reflection, curiosity. It seems that the sexual exhibitionism is by definition something sexual. I feel more like a girl who is going bungee jumping than someone looking for sexual pleasure. I do not take any. Besides, I'm quite shy, I make myself violence to do that. The only emotion I feel it's the adrenaline, but it's more like a sportsman. There is a big difference between an exhibitionist positions and artist and this difference is fundamental. Artists and activists go in the direction of life, construction and movement. If we do not make the difference between a life instinct and destructive drive, a gesture of aggression, it is serious.

Is nudity a political weapon?

Show her naked body is a reflection that may have a political impact. But it is not so much the body that is political, that reflection that entails. Any artist, nude or dressed, has a political significance.

Have you afraid?

Yes, the unknown. But it is an instinctive process, almost visceral for me. I think what scares me is also the humiliation that the gesture is not understood, that the items fall into sexism ... find myself in a position I have not chosen it, it makes me fear.

Were you surprised by the reaction of the museum?

I did not expect at all that they recognize me upon my arrival. There, it was a true form of exposure. I found myself putting my GoPro before them, and to take a stand before the table knowing that they would immediately intervene. They actually hid me directly. There, yes, I felt a failure. But then when I saw the pictures, I saw that it was beautiful, very telling. It was the same with the first performance, where a woman was put in front of me, turning the action into a confrontation between my legs apart and his body dressed to it.

Why your gender presentation in The Origin of the World in 2014?

It is a gesture that is considered pornographic, whereas for me it's just graphically beautiful. Symbolically, it is a beautiful positron. It was a gesture of openness, reappropriation of birth. Why would necessarily be vulgar? In Ireland, there are gargoyles in some churches, called Sheela Na Gig, who open their equality of women to protect from evil spirits, demons. It is a movement that has great power.

How did you get the idea to expose your sex?

I started taking pictures of my sex before their works in galleries, without consciously make the connection with the table. I had to really feel me sure of myself to make this positon in this table. At one point, it seemed obvious to reconcile with The Origin of the World. I wanted this gesture is seen through the lens, part of The Origin of the World. If you can not see my gesture across the table, placed in the exhibition, in pornography.

However, the association with eroticism or pornography is not so surprising ...

It's just not the same object for me. I understand that it can be exciting to watch these images, but it is important that it remains anchored in a reflection.

Why did you choose L'Olympia?

I could not take another picture because the model of that one looks at the public law in the eyes. I thought it was, too, relevant to a right of reply to the Orsay museum, which had already filed a complaint the first time, a sequel to the first performance.

Is it a criticism of the museum?

I'm not in criticism, in the information. In the words of the philosopher Geneviève Fresse denounce stereotypes helps make them exist. It is important to be in a gesture of emancipation, I stand in construction.

Do you understand their reaction?

Not really. I sent them a letter twenty minutes before to allow them to react. I could not do more if we would have blocked me access to the entry. I also asked for the manager to stop the game with the guards. If you hide someone that's more frightening than if you let the artist naked under a table. I had a body made up, I wore a wig ... I looked like anything but an exhibitionist.

What do you think of Femen?

This is not because we are naked they say the same thing. After you're part of the same time and I think they have invented an interesting and contemporary style in the representation. They created an interesting imagery, they did move the models.

Guarujá, São Paulo, Brasil, inaugura Museu de Ciências Naturais. --- Guaruja, São Paulo, Brazil, inaugurates Museum of Natural Sciences.

O único museu de ciência natural da Baixada Santista está de casa nova. A partir de amanhã, visitantes poderão encontrá-lo em um dos cartões-postais de Guarujá, o Morro da Campina, como é conhecido o Morro do Maluf – entre as praias de Pitangueiras e Enseada.

Museu de Ciências Naturais Joias da Natureza
 é atração para todas as idades em Guarujá

Trata-se do Museu de Ciências Naturais Joias da Natureza (Museu JN), que até o ano passado estava em São Vicente, onde ficou por quase 15 anos. Agora, está em uma área três vezes maior, mas não o suficiente para expor todo o acervo, composto por aproximadamente 15 mil peças, provenientes de mais de 150 países. Entre elas, há várias que nunca foram expostas.


Entrar no local é como fazer uma viagem ao passado. Ali é possível encontrar fósseis como o de um estromatólito de 3,8 bilhões de anos – o mais antigo do local.

É possível, ainda, ver ninhos de ovos de dois dinossauros: Oviraptor mongoliensis eNanyangosaurus zhuzeii. As mamães estão junto dos ovos graças a um trabalho feito pelo paleoartista Ariel Milani, contratado para reconstituir a cena pré-histórica.

“O ninho do ovirraptor é o único do País e sua exposição é inédita”, afirma o diretor curador do museu, Paulo Anselmo Matioli, que é um entusiasta do assunto. É com paixão que ele explica cada detalhe do museu, o que será feito também por três monitores para seus visitantes.

Matioli, mestre em Geociên-cias pela Unversidade de São Paulo (USP) e mineralogista do País, tem um mineral com seu próprio nome em exposição: a matioliita, uma das quatro pedras que descobriu em suas expedições mundo afora.

O acervo é composto, por enquanto, por cerca de 2 mil peças. Matioli ressalta que se trata de artigos originais. Com exceção da reprodução dos dinossauros, o resto data de milhões de anos atrás.

“As peças nacionais foram obtidas por meio de doação de vários institutos. As que vieram de outros países foram aquisições minhas ou intercâmbio com colegas”, conta.

Um deles é o símbolo do museu, o mesossauro, cujo fóssil tem 250 milhões de anos, e está ao lado de uma reconstituição do animal. “É a única reprodução fidedigna do País”.

O mesossauro é um ícone da paleontologia no mundo, pois prova que todos os continentes já foram unidos. “Encontraram ele em países que hoje são separados pelo oceano”.


Cinco Espaços
Visitantes poderão ver, por exemplo, meteoritos da Lua e de Marte, cristais de lavas vulcânicas e até fezes de dinossauro (veja destaque).

“Com o que tem aqui, daria para fazer dez museus. Ele tem o maior acervo do País”, afirma o empresário José Carlos Rodriguez, ex-secretário de Turismo de Guarujá e o principal investidor do projeto.

Serviço – O Museu JN funcionará no alto do Morro da Campina, cujo trajeto é feito pela Alameda Marechal Floriano Peixoto. A abertura será amanhã, com funcionamento sempre das 10 às 19 horas. O ingresso custa R$ 20,00, mas neste primeiro mês terá 50% de desconto (R$ 10,00). Haverá agendamento para escolas e grupos em geral. Mais informações no tel. 99167-5775 (Paulo Matioli).




fonte: @edisonmariotti #edisonmariotti


Cultura e conhecimento são ingredientes essenciais para a sociedade.

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



--in via tradutor do google
Guaruja, São Paulo, Brazil, inaugurates Museum of Natural Sciences.

The only museum of natural science Santos has a new home. Starting tomorrow, visitors will find it in one of the postcards of Guaruja, Morro da Campina, is known as the Morro do Maluf - between the beaches of Pitangueiras and Creek.


Museum of Natural Sciences Nature's Jewels
 It is an attraction for all ages in Guaruja

This is the Museum of Natural Science Nature Jewelry (JN Museum), which until last year was in San Vicente, where he stayed for almost 15 years. Now, it is three times larger area, but not enough to expose the entire collection, consisting of approximately 15,000 parts from more than 150 countries. Among them, there are several which have never been exposed.


Enter the place is like taking a trip down memory lane. There, you can find fossils like a stromatolite 3.8 billion years old - the oldest of the place.

You can also see nests of two dinosaurs eggs: Oviraptor mongoliensis eNanyangosaurus zhuzeii. Moms are among eggs thanks to work done by paleoartist Ariel Milani, hired to reconstruct the prehistoric scene.

"The ovirraptor nest is the only country and its exposure is unprecedented," says curator museum director Paul Anselmo Matioli, which is a matter enthusiast. It is with passion that he explains every detail of the museum, which will also be done for three monitors to your visitors.

Matioli, master Geociên-ences by Unversidade of São Paulo (USP) and mineralogist of the country, has a mineral with your own name on display: the matioliita, one of the four stones found in their expeditions around the world.

The collection consists, for now, about 2000 pieces. Matioli points out that it is original articles. Except for the reproduction of dinosaurs, the rest date of millions of years ago.

"The national pieces were obtained from various institutes donation. Those who came from other countries were my purchases or exchanges with colleagues, "he says.

One is the museum's symbol, the mesossauro, whose fossil is 250 million years, and is next to a reconstitution of the animal. "It's the only faithful photographic reproduction of the country".

The mesossauro is an icon in the world of paleontology because it proves that all continents were already united. "They found it in countries that today are separated by the ocean."


Five spaces
Visitors will see, for example, meteorites from the Moon and Mars, volcanic lava crystals and even dinosaur feces (see box).

"With what we have here, would to make ten museums. It has the country's largest collection, "says the businessman José Carlos Rodriguez, former Secretary of Guaruja tourism the main investor of the project.

Service - The JN Museum will run on top of Morro da Campina, whose path is made by Alameda Marechal Floriano Peixoto. The opening will be tomorrow with working always from 10 to 19 hours. Admission costs $ 20.00, but in this first month will have 50% discount (R $ 10.00). There will be scheduled for general schools and groups. More information at tel. 99167-5775 (Paul Matioli).