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sábado, 3 de fevereiro de 2018

London museum to replace 300-year-old collection of male portraits with women. --- Museo de Londres para reemplazar la colección de 300 hombres de retratos mascu. 伦敦博物馆将取代300岁的男性肖像收藏与女性。linos con mujeres. --- لندن، المتحف.، أن يحل محل، 300-يار-أولد، الجمع، بسبب، ذكر من انسان، صور، ب، نساء.

Foundling Museum launches £20,000 crowdfunding campaign for show that marks centenary of women’s right to vote in the UK.


The Foundling Museum in London is crowdfunding for a feminist show that will turn its collection upside down. The museum, which explores the history of the UK’s first children’s charity, the Foundling Hospital, plans to replace the portraits of its male governors with those of the 21 women who first petitioned to establish the building. Although the men’s portraits have hung in the main picture gallery for almost 300 years, there is no mention of the women who were the first to sign the petition in 1735, without whom the institution may never have existed.


The exhibition is part of a year-long programme at the museum celebrating the centenary of female suffrage in the UK and the passing of the Representation of the People Act 1918, which gave some women the vote for the first time.

“We want to use this centenary year as an opportunity to say that women being either accidentally or deliberately written out of history has a long legacy and we can tell a 300-year-long story of women who have shaped British society, culture and philanthropy through our collection,” says the museum’s director, Caro Howell.

The Ladies of Quality and Distinction (21 September-13 January 2019) aims to bring together the portraits of the women, of which the only existing trace in the museum collection is a facsimile list written by the hospital founder Thomas Coram. The museum’s team has spent a year researching the women and tracking down their images from public and private collections in the UK. Only three images have not been found: one portrait was destroyed in a fire at the 19th-century Clandon Park house in 2015; one exists in a black and white image but cannot be located; and one mysterious portrait remains undiscovered. The museum will display a reproduction of the burnt painting and hang an empty frame for the missing image.

The current male portraits, which were painted by some of the most famous artists of the day such as Allan Ramsay, William Hogarth and Joshua Reynolds, will be moved to other parts of the museum building or put into storage and will be reinstalled at the end of the show.

The museum’s suffragette centenary programme includes a year-long array of talks, displays and commissions. For the display First Among Equals (until 13 January 2019), around 30 leading female figures in Britain—including the first female director of the Tate , Maria Balshaw, and Eileen Cooper, the first woman to be the keeper of the Royal Academy Schools—have chosen objects from the museum’s collection to highlight with new text panels. The exhibition gallery will explore the lives and work of everyday women who supported the running of the hospital, from the inspectors to the wet nurses. The museum has also commissioned the artist Jodie Carey to create site-specific works (25 May-2 September) inspired by the textile “tokens” that were attached to babies’ clothing by mother’s who had to give them up.


The Ladies of Quality and Distinction exhibition will go ahead only if the museum can raise £20,000 through a four-week crowdfunding campaign that launches at midday today (1 February). “We are saying to people that you can genuinely help to put these women back in the frame. The role of these women has been under-recognised and art lovers have an opportunity to change the way that history is told,” Howell says.

• You can support the Foundling Museum’s Art Happens crowd funding campaign here.







Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.










--es via tradutor do google
Museo de Londres para reemplazar la colección de 300 hombres de retratos masculinos con mujeres.

Foundling Museum lanza una campaña de crowdfunding de £ 20,000 para mostrar el centenario del derecho de las mujeres a votar en el Reino Unido.

El Foundling Museum en Londres es crowdfunding para un espectáculo feminista que invertirá su colección. El museo, que explora la historia de la primera organización benéfica para niños del Reino Unido, el Foundling Hospital, planea reemplazar los retratos de sus gobernadores masculinos con los de las 21 mujeres que primero solicitaron establecer el edificio. Aunque los retratos de los hombres han estado en la galería principal de imágenes durante casi 300 años, no se menciona a las mujeres que fueron las primeras en firmar la petición en 1735, sin las cuales tal vez la institución nunca existió.

La exposición es parte de un programa de un año en el museo que celebra el centenario del sufragio femenino en el Reino Unido y la aprobación de la Ley de Representación del Pueblo de 1918, que dio el voto a algunas mujeres por primera vez.

"Queremos utilizar este año del centenario como una oportunidad para decir que las mujeres que han sido accidental o deliberadamente excluidas de la historia tienen un largo legado y podemos contar una historia de 300 mujeres que han dado forma a la sociedad británica, la cultura y la filantropía a través de nuestra colección ", dice el director del museo, Caro Howell.

Las Damas de Calidad y Distinción (del 21 de septiembre al 13 de enero de 2019) tienen como objetivo reunir los retratos de las mujeres, de los cuales el único rastro existente en la colección del museo es una lista facsímil escrita por el fundador del hospital, Thomas Coram. El equipo del museo ha pasado un año investigando a las mujeres y rastreando sus imágenes de colecciones públicas y privadas en el Reino Unido. Solo tres imágenes no han sido encontradas: un retrato fue destruido en un incendio en la casa del siglo XIX en Clandon Park en 2015; uno existe en una imagen en blanco y negro pero no puede ser localizado; y un retrato misterioso permanece sin descubrir. El museo mostrará una reproducción de la pintura quemada y colgará un marco vacío para la imagen faltante.

Los retratos masculinos actuales, que fueron pintados por algunos de los artistas más famosos del momento, como Allan Ramsay, William Hogarth y Joshua Reynolds, se trasladarán a otras partes del edificio del museo o se guardarán y se volverán a instalar al final. del espectáculo.

El programa centenario sufragista del museo incluye una serie de charlas, exhibiciones y comisiones durante todo el año. Para la pantalla First Among Equals (hasta el 13 de enero de 2019), alrededor de 30 figuras femeninas destacadas en Gran Bretaña, incluida la primera directora de la Tate, Maria Balshaw y Eileen Cooper, la primera mujer en ser la encargada de las Escuelas de la Royal Academy. han elegido objetos de la colección del museo para resaltar con nuevos paneles de texto. La galería de exposiciones explorará la vida y el trabajo de las mujeres de todos los días que apoyaron el funcionamiento del hospital, desde los inspectores hasta las nodrizas. El museo también encargó a la artista Jodie Carey la creación de obras específicas para cada sitio (del 25 de mayo al 2 de septiembre) inspiradas en los "tokens" textiles que las madres le pusieron a las ropas de los bebés y que tuvieron que renunciar a ellas.

La exhibición Ladies of Quality and Distinction se llevará a cabo solo si el museo puede recaudar £ 20,000 a través de una campaña de crowdfunding de cuatro semanas que se lanzará hoy al mediodía (1 de febrero). "Le decimos a la gente que usted puede ayudar genuinamente a volver a poner a estas mujeres en el marco. El papel de estas mujeres ha sido poco reconocido y los amantes del arte tienen la oportunidad de cambiar la forma en que se cuenta la historia ", dice Howell.

• Puedes apoyar la campaña de financiación colectiva Crows Art Found de The Foundling Museum aquí.













--chines simplificado
伦敦博物馆将取代300岁的男性肖像收藏与女性。

世界博物馆启动了20,000英镑的众筹活动,标志着英国妇女百年选举权。

伦敦的基金会博物馆正在筹备一场女权主义表演,将其收藏倒挂。该博物馆探索了英国第一个儿童慈善机构 - 基特林医院的历史,计划将其男性长官的肖像替换为首先请求建立该建筑的21位女性的肖像。虽然男人的肖像已经挂在主画廊近300年,但是没有提到1735年第一个签署请愿书的妇女,如果没有她,这个机构可能永远不会存在。

这个展览是庆祝英国女性一百周年纪念博物馆的一个为期一年的项目的一部分,也是1918年“人民代表法”的通过,这是第一次给了一些女性投票权。

“我们希望用这个百年纪念作为一个机会,说女性被意外或故意写出历史悠久,我们可以讲述一个长达300年的女性塑造英国社会,文化和慈善事业的故事通过我们的收藏,“博物馆的导演,卡罗·豪威尔说。

质量与特色的女士(2019年9月21日至2019年1月13日)旨在汇集妇女的肖像,其中博物馆藏品中唯一的痕迹是医院创始人托马斯·科兰(Thomas Coram)写的传真清单。博物馆的团队花了一年的时间研究这些女性,并在英国追踪公共和私人收藏的图像。只有三幅图像没有被发现:一幅肖像在2015年在19世纪的Clandon公园的房子里被烧毁;一个以黑白图像存在,但不能定位;一个神秘的肖像仍然未被发现。博物馆将展示烧毁的绘画的复制品,并为失踪的图像挂上空框。

目前由Allan Ramsay,William Hogarth和Joshua Reynolds等当代着名艺术家绘制的男性肖像将被移至博物馆建筑的其他部分或储存起来,并将在最后重新安装的表演。

博物馆的百年纪念计划包括长达一年的会谈,展示和委员会。为展示“首先在等于”(直到2019年1月13日),英国约30位女性主要人物 - 包括泰特玛丽亚·巴尔肖的第一位女导演和第一位担任皇家艺术学院校长的艾琳·库珀 - 选择了博物馆藏品中的物品,用新的文本面板来突出显示。展览馆将从检查员到奶妈,探索支持医院运行的日常妇女的生活和工作。该博物馆还委托艺术家裘迪·凯里(Jodie Carey)创作特定场地的作品(5月25日至9月2日),灵感来自被母亲放弃的纺织品“代币”。

只有在今天(二月一日)正午举行的为期四周的众筹活动中,博物馆才能筹得二万英镑,“质量与优秀女士”展览才会继续。 “我们正在对人们说,你们真的可以帮助把这些妇女重新置于框架之内。豪威尔说:“这些女性的角色得不到承认,艺术爱好者有机会改变历史的方式。

•您可以在这里支持世界博物馆的艺术发展人群资助活动。









--arabe via tradutor do google
لندن، المتحف.، أن يحل محل، 300-يار-أولد، الجمع، بسبب، ذكر من انسان، صور، ب، نساء.

متحف فوندلينغ تطلق 20،000 حملة تمويل الجماعي £ لإظهار المعرض الذي يصادف المئوية المئوية لحق المرأة في التصويت في المملكة المتحدة.

متحف فوندلينغ في لندن هو تمويل الجماعي لعرض نسوي من شأنها أن تتحول جمعها رأسا على عقب. ويعتزم المتحف، الذي يستكشف تاريخ أول جمعية خيرية للأطفال في المملكة المتحدة، مستشفى فوندلينغ، أن يحل محل صور حكامه الذكور مع صور 21 امرأة تقدمن التماسا لأول مرة لإنشاء المبنى. وعلى الرغم من أن صور الرجال قد علقت في معرض الصور الرئيسي لما يقرب من 300 سنة، إلا أنه لا يوجد ذكر للنساء اللواتي وقعن على الالتماس في عام 1735، الذي لم يكن من الممكن أن تكون له المؤسسة أبدا.

ويشكل المعرض جزءا من برنامج يستمر لمدة عام في المتحف الذي يحتفل بمرور مئة عام على حق الانتخاب للمرأة في المملكة المتحدة وتمرير قانون تمثيل الشعب لعام 1918 الذي أعطى بعض النساء التصويت للمرة الأولى.

"نحن نريد أن نستخدم هذه السنة المئوية فرصة لأن نقول أن النساء إما عن طريق الخطأ أو عمدا مكتوبة من التاريخ لديها إرث طويل ويمكننا أن نقول قصة 300 سنة من النساء الذين شكلوا المجتمع البريطاني والثقافة والعمل الخيري من خلال مجموعتنا "، يقول مدير المتحف كارو هاول.

تهدف السيدات من الجودة والتميز (21 أيلول / سبتمبر - 13 كانون الثاني / يناير 2019) إلى الجمع بين صور النساء، التي أثر الوحيد الموجود في جمع المتحف هو قائمة الفاكس التي كتبها مؤسس المستشفى توماس كورام. وقد أمضى فريق المتحف سنة في البحث عن النساء وتتبع صورهن من المجموعات العامة والخاصة في المملكة المتحدة. لم يتم العثور على ثلاث صور فقط: تم تدمير صورة واحدة في حريق في منزل كلاندون بارك في القرن ال 19 في عام 2015؛ واحد موجود في صورة بالأسود والأبيض ولكن لا يمكن أن يكون موجودا؛ ولا تزال صورة غامضة واحدة غير مكتشفة. سيعرض المتحف نسخة من اللوحة المحترقة ويعلق إطارا فارغا للصورة المفقودة.

سيتم نقل الصور الحالية للذكور، والتي رسمها بعض أشهر الفنانين في هذا اليوم مثل ألان رامزي وويليام هوغارث ويوشوا رينولدز، إلى أجزاء أخرى من مبنى المتحف أو وضعت في التخزين وسيتم إعادة تثبيتها في النهاية من العرض.

ويتضمن برنامج الذكرى المئوية للمتحف مجموعة من المحادثات والعروض واللجان. لعرض أول من يساوي (حتى 13 يناير 2019)، حوالي 30 شخصية نسائية رائدة في بريطانيا - بما في ذلك أول مديرا تاتي، ماريا بالشاو، وايلين كوبر، أول امرأة لتكون حارسا للمدارس الأكاديمية الملكية - اختاروا أشياء من مجموعة المتحف لتسليط الضوء عليها مع لوحات النص الجديد. معرض المعرض استكشاف حياة وعمل النساء اليومية الذين أيدوا تشغيل المستشفى، من المفتشين إلى الممرضات الرطب. كما كلف المتحف الفنان جودي كاري بإنشاء أعمال خاصة بالموقع (25 أيار / مايو - 2 أيلول / سبتمبر) مستوحاة من "رموز" النسيج التي كانت تعلق على ملابس الأطفال من قبل الأم التي اضطرت إلى إعطائها.

سيدير ​​معرض سيدات التميز والتميز فقط إذا تمكن المتحف من جمع 20،000 جنيه إسترليني من خلال حملة تمويل جماعي مدتها أربعة أسابيع تطلق في منتصف النهار اليوم (1 فبراير). واضاف "اننا نقول للناس ان بامكانكم المساعدة حقا فى اعادة هؤلاء النساء الى الاطار. دور هؤالء النساء قد تم االعتراف بهن بشكل غير كاف، وعشاق الفن لديهن فرصة لتغيير الطريقة التي يقال بها التاريخ ".

• يمكنك دعم متحف فوندلينغ متحف الفن يحدث حملة تمويل الحشد هنا.

Unique Viking runes discovered in Denmark. - Um pente com uma inscrição rúnica da palavra "pente", talvez não pareça tão sensacional. Mas isso é.

“These are the runes we’ve been missing,” says archaeologist.

The two new discoveries double the number of runes from Ribe, which was a centre of power during the early Viking Age.


A comb with a runic inscription of the word “comb,” perhaps doesn’t sound so sensational. But it is.

The comb dates to the early Viking Age around 800 CE. Just a handful of runic texts from this period exists.

The comb was discovered during excavations of a Viking Age market place in Denmark’s oldest town Ribe.

Alongside the comb, archaeologists also discovered a runic inscription on a small plate of bone or antler.

Together, the two objects reveal details from a crucial period of Viking history, says archaeologist and excavation leader Søren Sindbæk from Aarhus University, Denmark.

“These are the runes we’ve been missing. We’ve waited generations to be able to dig into this,” says Sindbæk.

Casts light on how Vikings used runes

Archaeologists know that runes changed drastically at the start of the Viking Age. But they lack evidence to know how standardised written and spoken language was during this time, and what the Vikings actually used runes for.

The two new discoveries double the number of runes from Ribe, which was a centre of power during the early Viking Age.

The runes showed up during an excavation of the city’s market place.

“This is from a period where runes changed a lot. Just the fact that we now have two new inscriptions to add to the two existing ones from Ribe, expands our understanding of the different uses they had,” says Sindbæk.

For example, there is a difference between using language to communicate with others, such as when writing a letter, or to label a comb as a comb.

Another way of using language could be when a trader deals with another trader to communicate the price or the type of goods, or to summon the gods.

Runes belonged to a bronze caster


The top of the Rök runestone. The inscription begins on this side. (Photo: Science Photo Library)


Sindbæk discovered the bone plate while he was excavating a small house that was known to have been a bronze foundry. Initially, he could not figure out what it was.

“The engraving is so fine that you can’t immediately see the text, but I thought to myself, ‘what if it is an inscription?’ But then I thought, ‘no, that’s too optimistic’.”

“It’s expertly crafted and we don’t find so many of its kind, so I couldn’t shake the idea. In the end I convinced myself that it had to be runes,” says Sindbæk, who was proven to be correct.

Runes inscribed by a steady hand

It was difficult to decipher the text as both ends were missing. Archaeologists do not know how big the original piece would have been, or in what context it was used. A guess is that it was once part of a casket, says Sindbæk.

The text lacks certain features, which mark the beginning and end of each word. Just like if we today wrote asentencewithoutanyspaces. It is decipherable, but difficult to read.

But this does not mean that the work was sloppy. The runes were clearly etched by a steady hand with detail indicative of an experienced engraver.

Old runic alphabet out-competed itself

Archaeologists were especially interested to find out whether the script on the comb and plate were the new alphabet, which came into use at the beginning of the Viking Age.

Previously, the Vikings used a more complicated alphabet known as the 24 character futhark—itself a combination of the first six letters of the alphabet.

“It was built up so each rune had its own name and indicated the sound. But as the language developed, the names and sounds changed too, and in the end it was too difficult to remember the sound value of each rune and there was too much uncertainty in the message being conveyed,” says rune expert Lisbeth Imer from the National Museum of Denmark.

“At some point they decided not to use the old system anymore,” says Imer, who was invited to Ribe to study the two new discoveries and decipher whether it was the old or new alphabet.

Cities were hotbeds for the new alphabet

The development of a new runic alphabet is revealed by Viking rune stones.

At the same time, they represent a unique time line from the runes and clearly illustrate when the new alphabet came into use, and that it was in fact alive and used.

Researchers have long presumed that the new alphabet system first appeared or developed in early Viking towns. But there were no specific finds to back up this hypothesis.

“If it wasn’t for rune stones then we wouldn’t have many finds from the 9th century. The fact that the Vikings constructed a new alphabet is secondary evidence that runes were much in use in the 9th century,” says Imer.

The excavation is a part of the research project “Northern Emporium,” financed by the Carlsberg Foundation.








Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.















--br via tradutor do google
Um pente com uma inscrição rúnica da palavra "pente", talvez não pareça tão sensacional. Mas isso é.

Corridas de Viking únicas descobertas na Dinamarca.

"Estas são as runas que perdemos", diz o arqueólogo.

imagem
As duas novas descobertas duplicam o número de runas de Ribe, que era um centro de poder durante a idade viking anterior.

O pente remonta à idade vikingo precoce em torno de 800 EC. Apenas existe um punhado de textos rúnicos desse período.

O pente foi descoberto durante as escavações de um mercado da Viking Age na cidade mais antiga de Dinamarca Ribe.

Ao lado do pente, os arqueólogos também descobriram uma inscrição rúnica em uma pequena placa de osso ou garfo.

Juntos, os dois objetos revelam detalhes de um período crucial da história viking, diz o arqueólogo e líder da escavação Søren Sindbæk, da Universidade de Aarhus, na Dinamarca.

"Estas são as runas que perdemos. Nós esperamos gerações para poder escavar isso ", diz Sindbæk.

Lança luz sobre como os Vikings usavam runas

Os arqueólogos sabem que as runas mudaram drasticamente no início da era viking. Mas eles faltam evidências para saber como a linguagem escrita e falada padronizada era durante esse período, e o que os Vikings realmente usavam para as runas.

As duas novas descobertas duplicam o número de runas de Ribe, que era um centro de poder durante a idade viking anterior.

As runas apareceram durante uma escavação do mercado da cidade.

"Isto é de um período em que as runas mudaram muito. Apenas o fato de termos agora duas novas inscrições para adicionar aos dois existentes de Ribe, expandimos nossa compreensão sobre os diferentes usos que eles usaram ", diz Sindbæk.

Por exemplo, há uma diferença entre usar o idioma para se comunicar com os outros, como, por exemplo, escrever uma carta ou rotular um pente como um pente.

Outra maneira de usar o idioma pode ser quando um comerciante lida com outro comerciante para comunicar o preço ou o tipo de bens, ou para convocar os deuses.

Runes pertenciam a um rodízio de bronze

Sindbæk descobriu a placa de osso enquanto ele estava escavando uma pequena casa que era conhecida por ser uma fundição de bronze. Inicialmente, ele não conseguiu descobrir o que era.

"A gravura é tão boa que você não pode ver imediatamente o texto, mas pensei em mim mesmo," e se fosse uma inscrição? "Mas, então, pensei:" não, isso é muito otimista ".

"É habilmente elaborado e não encontramos tantos de seu tipo, então não conseguiria agitar a idéia. No final, eu me convenci de que tinha que ser runas ", diz Sindbæk, que foi comprovado estar correto.

Runes inscritas por uma mão firme

Foi difícil decifrar o texto, pois os dois extremos estavam faltando. Os arqueólogos não sabem o tamanho da peça original, ou em que contexto foi usado. Acho que foi uma vez parte de um caixão, diz Sindbæk.

O texto não tem certas características, que marcam o início eo final de cada palavra. Assim como se hoje escrevemos asentências sem espaços. É decifrável, mas difícil de ler.

Mas isso não significa que o trabalho foi descuidado. As runas foram claramente gravadas por uma mão constante com detalhes indicativos de um gravador experiente.

O antigo alfabeto runico fora competido

Os arqueólogos estavam especialmente interessados ​​em descobrir se o roteiro sobre o pente e a placa eram o novo alfabeto, que entrou em uso no início da era viking.

Anteriormente, os Vikings usavam um alfabeto mais complicado, conhecido como o futhark de 24 caracteres, uma combinação das primeiras seis letras do alfabeto.

"Foi construído para que cada runa tivesse seu próprio nome e indicasse o som. Mas, à medida que o idioma se desenvolveu, os nomes e os sons também mudaram e, no final, era muito difícil lembrar o valor sonoro de cada runa e havia muita incerteza na mensagem transmitida ", diz a especialista em runas Lisbeth Imer do National Museu da Dinamarca.

"Em algum momento eles decidiram não usar mais o sistema antigo", diz Imer, que foi convidado para Ribe para estudar as duas novas descobertas e decifrar se era o antigo ou o novo alfabeto.

As cidades eram hotbeds para o novo alfabeto

O desenvolvimento de um novo alfabeto rúnico é revelado por pedras runa Viking.

Ao mesmo tempo, eles representam uma linha de tempo única das runas e ilustram claramente quando o novo alfabeto entrou em uso e que, de fato, estava vivo e usado.

Os pesquisadores há muito presumiram que o novo sistema de alfabeto apareceu pela primeira vez ou se desenvolveu em cidades antigas do Viking. Mas não houve achados específicos para apoiar esta hipótese.

"Se não fosse para pedras de runa, não teríamos muitos achados do século 9. O fato de os Vikings terem construído um novo alfabeto é evidência secundária de que as runas foram muito usadas no século 9 ", diz Imer.

A escavação faz parte do projeto de pesquisa "Emporium do Norte", financiado pela Fundação Carlsberg.

These nymphs were taken from the Manchester Art Gallery. To make us think. - Estas ninfas foram retiradas da Galeria de Arte de Manchester. Para nos fazer pensar.

Hilas and the Nymphs, painted by John William Waterhouse, was removed from the exhibition at the Manchester Art Gallery. The museum wants to "launch the debate on how to show and interpret the works of the city's public collection.


"Hilas and the Nymphs", by John William Waterhouse (1896)

"How can we talk about the collection in relevant ways in the 21st century?" The question is posted on the museum's blog after they decided to remove John William Waterhouse's Hilas and Nymphs from the wall.

The work of 1896 is the beginning of a debate that the museum wants to open. "This gallery presents the female body as 'passive decorative form' or 'femme fatale'. Let's challenge this Victorian fantasy, "asks the museum.

The initiative itself is artistic work. "The act of removing the painting was part of an initiative that took place on the night of January 26. People from the gallery team and people associated with the gallery were part of the exhibition. Boyce, "explains the museum.

The exhibition, which runs from March 23 to September 2, at the Manchester Art Gallery is a retrospective of the artist's work, focused on her work from the mid-1990s, from her early drawings and collages to collaborative forms which includes this order which resulted in the removal of the table.

"A group takes the gallery by exploring the 'gender problem among nineteenth-century paintings,' explains the institution. From this act a film is born that will be an installation in the exhibition dedicated to Sonia Boyce, and that happens at the same time that institutions are called to remove works of art that are considered inadequate, as it happened in the Metropolitan Museum with a picture of Balhus.

Eight thousand people signed a petition calling on the New York museum to remove the painting Thérèse Dreaming, painted by Balthus in 1938, which portrays a girl in a suggestive pose and revealing her underwear.

The petition argued that "given the climate around sexual abuse and allegations that have become public, by showing this work to the masses, the Met romanticizes the voyeurism and objectification of children."

The Met came to the terreiro to say that "moments like these provide an opportunity to talk and visual art is one of the most significant ways we have to reflect both on the past and the present and to encourage the ongoing evolution of the existing culture through informed debate and respect for creative expression. "

That debate is also what the Manchester gallery wants to raise. Or, as The Guardian asks, "Is this painting inappropriate and offensive to modern audiences?"

In the place where the picture should be, is the information that this moment serves to raise the debate. Some people who participated in this action left post-its with messages and the curator of contemporary art explains the purpose, which has nothing to do with censorship. "It is not to deny the existence of certain works of art," said Clare Gannaway,

The room where Hilas and the Nymphs are habitually called In Pursuit of Beauty.









Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.











--pt
Estas ninfas foram retiradas da Galeria de Arte de Manchester. Para nos fazer pensar.

Hilas e as Ninfas, pintado por John William Waterhouse, foi retirado da exposição da Galeria de Arte de Manchester. O museu quer "lançar o debate sobre a como mostram e interpretam as obras da coleção pública da cidade.

imagem
"Hilas e as Ninfas" , de John William Waterhouse (1896)

"Como podemos falar da coleção de maneiras relevantes no século XXI?" A pergunta é lançada no blogue do museu, depois de terem decidido retirar o quadro Hilas e as Ninfas, de John William Waterhouse, da parede.

A obra, de 1896, é o princípio de um debate que o museu quer abrir. "Esta galeria apresente o corpo feminino como 'forma decorativa passiva" ou 'femme fatale'. Vamos desafiar esta fantasia vitoriana", pede o museu.

A iniciativa é, ela própria, um trabalho artístico. "O ato de retirar o quadro fez parte de uma iniciativa que aconteceu na noite de 26 de janeiro. Pessoas da equipa da galeria e pessoas associadas à galeria fizeram parte. O retirar [do quadro] foi filmado e é parte de uma exposição de Soia Boyce", explica o museu.

A exposição em causa, patente entre 23 de março e 2 de setembro, na Galeria de Arte de Manchester é uma retrospetiva do trabalho da artista, focada no seu trabalho a partir de meados dos anos 90, dos seus primeiros desenhos e colagens até formas colaborativas de trabalho, em que se inclui esta encomenda que resultou na retirada do quadro.

"Um grupo toma a galeria explorando o 'problema de género entre as pinturas do século XIX", explica a instituição. Deste ato nasce um filme que será uma instalação na exposição dedicada a Sonia Boyce, e que acontece ao mesmo tempo que instituições são chamadas a retirar obras de arte que se consideram desadequadas, como aconteceu no Metropolitan Museum com um quadro de Balhus.

Oito mil pessoas assinaram uma petição em que se pedia que o museu nova-iorquino retirasse o quadro Thérèse Dreaming, pintado por Balthus em 1938, que retrata uma rapariga numa pose sugestiva e revelando a roupa interior.

A petição defendia que "dado o clima em torno do abuso sexual e alegações que se tornaram públicas, ao mostrar este trabalho às massas, o Met romantiza o voyeurismo e a objetificação das crianças".

O Met veio a terreiro dizer que "momentos como estes fornecem uma oportunidade para conversar e a arte visual é um dos mais significativos meios que temos para refletir tanto sobre o passado e o presente como encorajar a contínua evolução da cultura existente através do debate informado e respeito pela expressão criativa."

Esse debate é também o que a galeria de Manchester quer levantar. Ou, como pergunta The Guardian: "É esta pintura inadequada e ofensiva para as audiências modernas?"

No lugar onde devia estar o quadro está a informação de que este momento serve para levantar o debate. Algumas pessoas que participaram nesta ação deixaram post-its com mensagens e a curadora de arte contemporânea explica o propósito, que nada tem a ver com censura. "Não é para negar a existência de certas obras de arte", esclareceu Clare Gannaway,

A sala onde habitualmente está Hilas e as Ninfas chama-se In Pursuit of Beauty (Procurando a beleza).