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sexta-feira, 4 de março de 2016

Museo delle Culture, Switzerland. --- Museu da Cultura, Suíça.

The Museo delle Culture safeguards most of the ethnic artworks collected by Swiss Italian artist Serge Brignoni (1903-2002) between 1930 and 1985. In 1985 Brignoni donated his collection to the City of Lugano. The City decided to house the Brignoni collection in the Villa Heleneum, an outstanding neoclassical mansion set in a tropical and subtropical botanical garden, thus creating the Museo delle Culture (the Museum of Cultures). The museum was first opened to the public on the 24th of September 1989.

The Laboratory for Conservation 

Brignoni and a team of researchers headed by Christian Giordano (who was appointed museum director), carried out the inventory of the artworks, set up the museum and curated the first catalogue. In 1992 Giordano resigned and Carla Burani took over until 1996. During the following ten years the museum was neglected by the City’s cultural policy and risked closure. However, the local press revealed a proposal to sell the collections and this sparked a wave of public protest in the summer of 2004. The new local government decided to relaunch the museum by appointing Francesco Paolo Campione as curator and later as director. In October 2005, Professor Campione presented a proposal called The Activity System,which remains the basis of the museum's current scientific management. 

From Museo delle Culture Extraeuroeeto Museo delle Culture

During a hearing session on the 10th of January 2007, the City of Lugano approved the proposal of changing the museum's name from “Museo delle Culture Extraeuropee” (Museum of Extra-European Cultures) to “Museo delle Culture” (The Museum of Cultures). This decision was based on the need to revise an anachronistic and, in a certain sense, incorrect definition. 

The name “Museo delle Culture Extraeuropee” did not convey the true nature of the museum’s collections, nor any specific aim. In fact, this name was the result of an ideological compromise which characterized the history of anthropological thought in the 1970s and 1980s. “Museo delle Culture Extraeuropee” was a solution designed to surpass the old definitions of “Ethnographical Museum”, “Museum of Ethnology” and“Museum of Primitive Arts”. Towards the mid 1980’s, these definitions seemed to carry a heavy weight of ‘otherness’, determined on the basis of an ethnocentric worldview. Such terminology did not express the definitive absorption of ethnological/ethnographic paradigms into the much wider field of anthropological sciences. The deliberate choice of “Museo delle Culture” (Museum of Cultures) conveys the museum's cultural patrimony from a scientific point of view. The name also underlines the museum’s vital task of exploring all forms of ancient and modern ethnic art, as well as Oriental Art and modern themes within the field of the Anthropology of Art and Cultural Anthropology.

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.

--br via tradutro do google

Museu da Cultura, Suíça.
As salvaguardas Museo delle Culture maioria das obras de arte étnicas recolhidos pelo artista italiano Swiss Serge Brignoni (1903-2002) entre 1930 e 1985. Em 1985 Brignoni doou sua coleção à cidade de Lugano. A cidade decidiu abrigar a coleção Brignoni no Villa Helen Eum, uma mansão neoclássica excelente situado num jardim botânico tropical e subtropical, criando assim o Museo delle Culture (o Museu das Culturas). O museu foi aberto pela primeira vez ao público no dia 24 de Setembro de 1989.

Brignoni e uma equipe de pesquisadores liderados por Christian Giordano (que foi nomeado diretor do museu), realizou o inventário das obras de arte, criou o museu e curador da primeira catálogo. Em 1992, Giordano renunciou e Carla Burani assumiu até 1996. Durante os dez anos seguintes o museu foi negligenciado pela política cultural da cidade e arriscou encerramento. No entanto, a imprensa local revelou uma proposta para vender as coleções e isso provocou uma onda de protesto público no verão de 2004. 

O novo governo local decidiu relançar o museu através da nomeação de Francesco Paolo Campione como curador e mais tarde como diretor. Em outubro de 2005, o professor Campione apresentou uma proposta chamado sistema de atividade, que continua a ser a base da gestão científica atual do museu.

De Museo delle Culture Extraeuroeeto Museo delle Culture

Durante uma sessão de audiência no dia 10 de Janeiro de 2007, a cidade de Lugano aprovou a proposta de mudar o nome do museu do "Museo delle Culture Extraeuropee" (Museu de Culturas extra-europeus) para "delle Cultura Museo" (O Museu das Culturas) . Esta decisão baseou-se na necessidade de rever uma anacrônica e, em certo sentido, a definição incorreta.

O nome "Museo delle Culture Extraeuropee" não transmitir a verdadeira natureza das coleções do museu, nem qualquer objectivo específico. Na verdade, este nome foi o resultado de um compromisso ideológico que caracterizou a história do pensamento antropológico na década de 1970 e 1980. "Museo delle Culture Extraeuropee" foi uma solução projetada para superar as velhas definições de "Museu Etnográfico", "Museu de Etnologia" e "Museu de Artes Primitivas". Rumo a meados de 1980, essas definições parecia carregar um peso pesado do "outro", determinado com base em uma visão de mundo etnocêntrica. Essa terminologia não expressou a absorção definitiva de paradigmas etnológicas / etnográficos para o campo muito mais amplo das ciências antropológicas. 

A escolha deliberada de "Museo delle Culture" (Museu das Culturas) transmite o patrimônio cultural do museu a partir de um ponto de vista científico. O nome também sublinha tarefa vital do museu de explorar todas as formas de arte antiga e moderna étnica, bem como Arte Oriental e temas modernos dentro do campo da Antropologia da Arte e Antropologia Cultural.

Bardo Museum Tunisia - Architecture and heritage, history, prehistory, archeology

The creation of the museum

From 1885 to 1888, The French Protectorate which was established in 1881 undertook important works on all the Bardo palaces and transformed the interiors into exhibition halls intended to host national archaeological, historical, and ethnological collections.

This reconversion, which was announced by the Beylic decree of 25 March 1885 proclaiming the creation of the Alaoui museum in Mhammed Bey’s old harem, was the result of the heritage-creation policy subjecting cultural assets. This was started by the Tunisian Prime Minister and great reformer, Kheireddine Pacha, who thus brought the activities of the private collectors in the government of his predecessor, Mustapha Khaznadar (1837-1873) to an end. 

This initiative was aiming at the constitution of national museographic collections about the different eras of the country’s history. 
These collections, which had firstly been exposed in arranged places in the Kasbah of Tunis, near the government headquarters (Dar El Bey), were transferred to the Alaoui Museum. They were enriched with a department of Tunisian crafts which was a project of Kheireddine Pacha himself in order to highlight the ancestral and durable character of the Tunisian craftsmen’s know how at that time. 
By virtue of the Beylic decree of November 7, 1882, the Tunisian government and the French Protectorate authorities jointly created a Tunisian Directorate of Antiquities and Arts and entrusted it with the project. After six years dedicated to the rehabilitation and collection of works, the Alaoui Museum was opened in 7 May 1888 and was inaugurated with pomp by Ali Bey, who was in power at that time, accompanied by French personalities.

The Alaoui Museum during the Protectorate (1881-1955)

The first director of the Tunisian Antiquities Service (1885-95), René du Coudray de la Blanchère, and his immediate superior at the French ministry of Public Instruction and Fine Arts, Xavier Charmes, were the main actors of the implementation of the national Tunisian museum project. The project was conceived by Kheireddine Pacha and advisors from the French scientific body who were in an archaeological mission in Tunisia. 

Only two departments were opened to the public in 1888. They were situated on the first floor of Mhammed Bey’s palace and were accessible through the big staircase starting at entrance hall or driba. These departments were composed of:
A covered patio where a collection of Latin inscriptions was exposed. It included the famous set of neo-Punic votive steles from Maghraoua which was owned by Mhammed Khaznadar. This space was given the name ‘epigraphic museum’ following the museographic nomenclature of that time
A reception hall surmounted by a dome in gilded wood where mosaics, ceramics, and statuary works were exposed. This space was named ‘The Ancient Museum’. The dimensions of this hall (130 m2) allowed the mosaicists’ workshop which was created towards 1885 at the Alaoui Museum to lay the famous mosaic called Neptune’s Triumph with its Nereides and Tritons cortege on its ground.

In 1896, Paul Gauckler, an archaeologist who lives in the Medina of Tunis and who is attracted by the orientalist world, was named head of the Directorate of Antiquities and Arts. He defines the Alaoui Museum as the main place for the conservation and the exhibition of objects coming from the different archaeological excavations undertaken on the Tunisian soil. 
His redistribution of the palace halls is going on with the adjunction of:
The old dining room, renamed ‘Uthina’s Hall’, which is reserved to ground mosaics, statuary works and objects discovered during the excavations in Oudhna.

The actual Carthage Hall with its mezzanine. The room size also allowed the insertion, on its ground, of two big mosaics illustrating the secret of vinification being delivered by Dionysos to King Ikarios and other illustrating rural life. The presentation of these works is in a highly faithful accordance with that of the whole site. It allows for a bird’s eye view from the second floor gallery.

Paul Gauckler reorganised the permanent exposition of the museum according to chronological criteria and that of objects according to category criteria. Thus, the first floor apartments of the palace and the outbuildings of the ground floor are rearranged to accommodate:
The Christian department, the actual Thugga (Dougga) Hall, which was inaugurated in 1903 and which displays exceptional jewels and works.
An Arab-Muslim museum in the ‘Small Palace’ and the so-called naksha hadida apprenticeship workshop for stucco work which was established in the old pavilion of the internal garden for the benefit of young Tunisian craftsmen.

Paul Gauckler took in charge especially the inventory of the Bardo collections. He is the co-author, with René Coudray de la Blanchère, of the Alaoui Museum Catalogue (the irreplaceable A.M.C.). The supplements to this catalogue were published by his successor heads of the Directorate of Tunisian Antiquities and Arts.


From 1905 to 1920, the new head of the directorate of antiquities, Alfred Merlin, reorganized the museum into halls bearing the names of great Tunisian archaeological sites. Thus, the halls of Althiburos, Carthage, Dougga, Sousse, Thuburbo Majus, and Thysdrus (El Jem) were created one by one.

Virgil’s Hall, which occupied the bedroom of the old harem, accommodated the famous mosaic representing the poet of Latinity who wrote the ‘Aeneid’ which was discovered in a house in Sousse. This new nomenclature of halls which calls for a visit of the sites is still used today.

In 1913, two events livened the Alaoui Museum halls. The first was the inauguration of an Arabic department in the private apartments of the Tunisian palace where an exhibition presented ethnographic collections and Tunisian craft products. 
The second event was the creation of another department reserved for the collections coming from the Mahdia underwater excavations that were conducted by Alfred Merlin between 1907 and 1911. 

Thus, a decree in 1907 transformed the Alaoui Museum into a public institution with a legal personality. This text, which defines the prerogatives of the museum and designates its ordinary, extraordinary, and special resources, granted it an autonomy status. The director of the Antiquities and Arts Service had the ultimate responsibility for the museum. He was assisted by an administrative curator. Bertrand Pradère, who had already been in this position since the inauguration of the museum, assumed this role until his retirement in 1928.

In the beginning of the XXth Century, an association of the friends of the Alaoui Museum was created. It was very active until the beginning of the 1950s: it brought Europeans and Tunisians together, financially supported the museum to buy antiquities, and incited collectors to donate. The association was the vehicle of a positive image of the museum both in Tunisia and the throughout world.

The inter-war period was marked by the passage of Louis Poinssot as head of the Alaoui Museum. During the 1930s, a new wing was arranged on the first floor to accommodate a collection of mosaics (particularly marine-themed mosaics) and the mausoleum coming from the Officiales cemetery in Carthage (cemetery for the imperial administration personnel whose one of the tomb is displayed at the museum). The mosaics Hall of Ulysses and the winning horses date back to this very period. Louis Poinssot reorganized the Christian department in 1932 by laying new mosaics on its ground. He created an Islamic department in the pillared hall on the ground floor with the exposition of a funerary epigraphic collection. He deployed a museographic arrangement in the great Iwan hall of the Tunisian palace while Jewish antiquities were highlighted in the so-called Judaica adjoining hall. 

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.

Sakip Sabanci Muzesi, Turkey, Architecture and heritage, Decorative art, design, Fine art, History, Modern and contemporary art, Music, Prehistory, Archaeology, Societies and civilisations, Science and nature, Technology and industry, Theater, Events

Sabancı University's Sakıp Sabancı Museum is located in Emirgan, at one of Istanbul's oldest settlements on the Bosphorus.

In 1925, Prince Mehmed Ali Hasan of the Hidiv family of Egypt commissioned the Italian architect Edouard De Nari to build the villa, now the museum's main building, and it was used as a summer house for many years by various members of the Hidiv family.

After the mansion was purchased in 1951 by industrialist Hacı Ömer Sabancı from Princess Iffet, a member of the Hidiv family, as a summer residence, it came to be known as Atlı Köşk, “The Mansion with the Horse”, because of the statue of a horse (purchased in the same year) that was installed in the garden; the statue is the 1864 work of the French sculptor Louis Doumas.

A second horse sculpture on the grounds of Atlı Köşk that gave the mansion its name is the cast of one of the four horses taken from Sultanahmet square in Istanbul when it was looted by Crusaders during the Fourth Crusade in 1204 and removed to the Basilica of San Marco in Venice.

After the death of Hacı Ömer Sabancı in 1966, Atlı Köşk began to be used permanently as a home by Sakıp Sabancı in 1974 as the eldest of the family, and for many years housed Sakıp Sabancı's rich collection of calligraphy and paintings. In 1998, together with its collection and furnishings, the mansion was bequeathed to Sabancı University by the Sabancı family to be transformed into a museum.

With the annex of a modern gallery, the exhibition areas of the museum opened to visitors in 2002; with a further extension of the layout in 2005, the technical level of the museum reached international standards.

Today Sabancı University Sakıp Sabancı Museum presents a versatile museological environment with its rich permanent collection, the comprehensive temporary exhibitions that it hosts, its conservation units, model educational programs and the various concerts, conferences and seminars held there.

Cultura e conhecimento são ingredientes essenciais para a sociedade.

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

Vamos compartilhar.


The mission of the Mysteskyi Arsenal is to envision a united concept encompassing the breadth of Ukrainian cultural achievement and initiative, and to promote that concept embodied in Ukrainian art, culture, and history, ensuring its place in the broader heritage of world culture.

For centuries Arsenal has stood as a place of secrets. Kyivites adept at adjusting to political caprice and fluctuations in degrees of cultural freeze or thaw kept their eyes elsewhere as they walked by its mass. If rumors of the top-secret military function being enacted inside weren’t sufficient to blunt public curiosity, the razor wire that topped its walls in more recent times provided all the explanation necessary that the Kyiv Arsenal was off limits.Things have changed. Doors perpetually locked have been thrown open, and halls once committed to military purposes are now filled with light and art. A factory geared for perpetual war has been transformed into a showplace for peace.

In 1783, Johann Meller was a Lieutenant General, and architect, in the Russian Imperial Army of Catherine the Second. Stationed at Kyiv, he was tasked with the design and construction of an arsenal to aid in the Empress’s war efforts. The structure we see today — three stories of brick magnificence around an interior courtyard the size of a football pitch, with 8-meter ceilings in the wings and cascading vaulted arches stretching off into the distance — testifies to the military architect’s subversive streak. Upon the completion of the Arsenal, Meller would leave a commentary on his design: “the day will come and you will see that I built Arsenal nor weapons bur for people.”

Perhaps the architect sensed a need to right a wrong. Looking for a site to build a citadel, Russian emperor Peter the First, had evicted the sisters of the Ascension Orthodox Convent from the hill on which they had lived since the 16th century. The nuns were moved to the Florivsky Convent in Kyiv’s Podil neighborhood, and in time the stunning Intercession Church built by Hetman Ivan Mazepa was razed and in this place the arsenal would be built. Though the structure would retain its exclusive military function for roughly two centuries, in the end its architect’s words would prove prophetic. The Arsenal building was granted National Historic Monument status and became a cultural institution to be called “The Mystetskyi Arsenal” (the Arts Arsenal) in 2003. The ensuing decade has provided Ukrainian society with further challenges, and while the transformation of the Arsenal into a working cultural institution has been difficult, an auspicious beginning has at last been

made. After October 2010 the Old Arsenal had been temporally adapted to host exhibitions, and visitors. Comprised of more than 60,000 m2 of floor space, the architectural and spatial configuration of the Arsenal complex allows it to hold large-scale art projects, exhibitions, concerts, performances, presentations, charity balls and more.

Mysteskyi Arsenal building has been under restoration since 2005. Now only 12,000 square meters are being used for art projects and events. Renewed Mystetskyi Arsenal with perfectly equipped museum space for permanent exhibition of the history of Ukrainian art, and temporary projects, concert and lecture halls, public library and museum shops, comfortable visitors infrastructure will become one of the largest museum complexes in Eastern Europe.

And indeed, the New Arts Arsenal, has been all that and more. In these four years over two million visitors have crossed Arsenal thresholds for 40 major, and scores of small-scale projects, organized by current team of Mystetskyi Arsenal. Among them there are several significant annual events such as Art Kyiv Contemporary Forum, Book Arsenal International Festival, Grand Sculpture Salon, and, the most prominent — The First Kyiv Biennale of Contemporary Art ARSENALE 2012.

Celebrating world culture from its pre-historic roots to its most contemporary flower, the Arsenal has been a sometime home for the genius of eminent international and home-grown artists. From projects featuring the films of Dziga Vertov, to the avant-garde challenge of Kazimir Malevych, and the contemporary provocations of Luise Bourgeois, Jake & Dinos Chapman, and Ukraine’s own Zhanna Kadyrova, the Mystetskyi Arsenal is making its mark.

Art and culture, free to explore, are at the heart of any progressive society. Whether it’s through innovation in children’s education, special needs projects, celebrations of classical masterpieces, or the advancement of great literature, the Mystetskyi Arsenal is at the vanguard, leading Ukraine beyond its recent, difficult past and into Europe and the world. This is our moment. No longer hidden in the shadows, the life and art of this dynamic place are open to all.

 Kyiv, Ukraine

Cultura e conhecimento são ingredientes essenciais para a sociedade.

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

Vamos compartilhar.