Bienal de Cerâmica Artística

Bienal de cerâmica artística



Bienal de cerâmica artística abre em Aveiro



fonte – Jornal de Notícias



O edifício da Antiga Capitania acolheu pelas 15 horas, a primeira de quatro inaugurações de mostras de cerâmica integradas na IX Bienal Internacional de Cerâmica Artística de Aveiro.

“Sabores da terra / Sabores de la tierra” reúne 96 pratos em cerâmica de 24 ceramistas portugueses e 24 espanhóis, em que cada um dos artistas apresenta duas obras. Pode ser visitada até 15 de Novembro, de terça-feira a domingo, das 14 às 18 horas.

“Bienal de Cerâmica – 20 anos – retrospectiva”, no Museu da Cidade de Aveiro, que vai reunir obras que concorreram em edições anteriores da bienal, trabalhos pertencentes ao espólio municipal. Aberta também até 15 de Novembro, recebe visitantes de terça-feira a domingo, das 10 às 12 horas e das 14.30 às 18.

A IX Bienal Internacional de Cerâmica Artística de Aveiro, no Museu de Aveiro, está patente até 15 de Novembro, poderá ser apreciada de terça a domingo, das 10 às 17.30 horas.

Por último na Galeria Municipal no Paços do Concelho, existe uma mostra “Figuras Tradicionais da Região de Aveiro – Cerâmica de Alberta”. Esta é uma exposição individual de cerâmica sobre figuras características da região, nomeadamente as profissões relativas à ria.



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Gabinete de arquitectura português homenageado

GABINETE PORTUGUÊS HOMENAGEADO COM PRÉMIO INTERNACIONAL DE ARQUITECTURA

No passado dia 8 de Outubro foram divulgados os resultados do PREMIO MAESTRI COMACINI 2009, prestigiado concurso trienal que visa distinguir a qualidade do projecto e da obra como expressão cultural entre projectista, cliente e empresa de construção, de acordo com a filosofia dos “Grandes Mestres de Como”. Este prémio é atribuído nas categorias de Novas Construções, Recuperação de Construções Existentes, Requalificação Urbana e Infraestruturas, e Interiores.

Ao gabinete Cremascoli, Okumura e Rodrigues, arquitectos foi atribuída a Menção Honrosa na categoria de Requalificação Urbana e Infra-estruturas, com o projecto para a Requalificação Urbanística e Funcional da Praça Garibaldi e do Quarteirão Annoni. O gabinete também participou recentemente na exposição Habitar Portugal 2006-2008, no espaço Multiusos da Marina de Cascais, ao lado de nomes consagrados como Álvaro Siza, Souto de Moura ou Carrilho da Graça.

italia Requalificação Urbanística e Funcional da Praça Garibaldi



Para informações adicionais contactar:

Lisa Belchior
rua de santa catarina 42 – 3.º dir.fr. | 4000-441 porto | portugal
lisa.belchior@corarquitectos.com | t. 222 081 561 | f. 222 018 008



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The Subjecters

alta resolução
Subjecter
Thomas Hirschhorn em la casa encendida – Sala A



Thomas Hirschhorn
“The Subjecters”
la casa encendida – Madrid
até dia 05 de Janeiro de 2010

Comissário: Ignacio Cabrero



“The Subjecters”, primeira exposição individual do artista Thomas Hirschhorn em Madrid, é, segundo o artista, um “comentário sobre o mundo em que vivemos, esgotado, caótico, cruel, mas por sua vez também harmonioso e encantador”. Podem-se ver instalações, esculturas, e montras com manequins no seu interior.

O trabalho de Thomas Hirschhorn (Berna 1957), caracteriza-se por ser uma reflexão comprometida sobre a realidade contemporânea. Fazendo uso das distintas disciplinas, como a escultura, o vídeo ou a instalação, Hirschhorn desenvolve um trabalho que se liga à crítica social e política.

Através da utilização de materiais do quotidiano, como a fita adesiva, o cartão, fotocópias, ou, neste caso, manequins, representa situações universais de forma transversal e directa. Através dos manequins que nos apresenta Hirschhorn em jeito de representação do “Nós”, fala-nos de uma “ferida universal”, que quer dar forma à afirmação “Eu sou responsável por todas as feridas”.

O artista produziu duas novas peças: “Tool Vitrine” e “Subjecter”, que dá título à exposição. Na vitrina “Tool Vitrine” um manequim parece querer acertar-nos com um martelo, mas também poderia estar simplesmente a cumprir com o seu trabalho, rodeado por todo o tipo de ferramentas. São utensílios familiares aos habitantes das zonas industriais como Aubervilliers, de onde se encontra o estúdio do artista. No meio das ferramentas, como se de uma manual de instruções se trata-se, está a “Ética” de Spinoza, um dos livros favoritos de Thomas Hirschhorn. Na obra “Subjecter”, um só manequim completamente perfurado com pregos, aparece fora das vitrinas, como uma representação fetichista de uma figura humana.

Nas obras se pode observar que os manequins estão “conectados” com a sociedade, e através das tatuajens sobre a superfície de “4 women”, e através das revistas que enfatizam o cuidado do corpo na vitrina “Mono Vitrine (Interview)”, dos livros de arte sobre Goya que nos recordam os desastres da guerra em “Mono-Vitrine (Goya)”, as ferramentas na peça “Tool Vitrine”, o os bonequinhos manga em “INGROWTH”. Completa-se a exposição com duas instalações situadas no centro da sala, “Black & White Hemisphere” e “The One World”.



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Seeking Time, in Space (Scene Three)

A Train Ride

The best hours of elementary school were whenever we had a free period or two at the end of the school day, often because a teacher was absent for one reason or another. The school attendant Amm Ibrahim would come to tell us in his strong voice: “The teacher isn’t here today… You’re free!” We always screamed “Let’s go! Let’s go!” and then jumped like apes from on top of the benches and thronged through the classroom door as if anyone who were just a moment late would be imprisoned in the school, or as if Amm Ibrahim could go back on his word at any moment.
This last hour was one of my rare chances to explore new and distant places, like Columbus. Sometimes one of my schoolmates would come with me to Al-Qalaj or Al-Marg or Izbat An-Nakhl, or sometimes I would start off in the direction of Ain Shams to the west.3 These places were all thresholds onto the Nile delta, and for me they represented nothing less than a wondrous, unknown world. I was fascinated by the strange animals I saw there (especially the young ones), and I used to gaze at the unfamiliar trees and eat as many fresh fruits and vegetables as I wanted. And of course, there were all those delicious things that my friends’ mothers would offer me, such as fatir mishaltit and qishda 4 and homemade bread; and finally there was both the soft and sun-baked varieties of bread, as well as all those other delicious foods, some of which we often bought from the grocer while others we received only very rarely.

One day I decided to carry out a somewhat risky plan on my own: There was a freight train that passed near our house on a slope as it made its way towards Suez. The train slowed down considerably on the slope, so I knew it would be possible to jump onto it and then get off a few minutes later near our house, or at worst a short distance away from it—and in those few minutes, I could discover a whole new world. I had to wait a long time before I could put this plan into action, for I needed enough free time to carry out the illicit expedition without any of my teachers or my family (or their acquaintances) finding out about it.

Then, one day, everything fell into place: The train passed by on schedule and slowed down just like it always did; I ran alongside it and easily jumped into the last car. I sat there whistling in joy and triumph, with my feet dangling out the train that was slowly dragging itself along and clattering marvelously. It let off a loud whistle while I happily counted the ties between the rails beneath me. The train crossed a surprisingly large distance (considering how slow it was going), and let out another whistle and began to pick up speed as I sat there humming to myself. I suddenly realized that the railroad ties were going by much more quickly now, and soon we were moving so fast that I could no longer make out the individual ties. The train let out another (much longer) whistle as it moved forward, and now its clattering took on a sharper pitch. I tottered in the last car, holding tightly onto my bag. I looked out to the left and found that I had passed the last of the houses that I recognized and was now a good distance from home. The train was passing the bedouin huts on the hills, and I knew the desert would begin beyond them. The thought of the train taking me all the way to Suez terrified me, so I resolved to take immediate action. I threw my bag out the train, and a moment later it was a mere point in the distance. There was nothing left to do but hurl myself at the pebbles and the sand…
I stood up in pain; I was covered in dust and had scraped both my knees and one of my elbows. Yet I smiled in satisfaction at the tail of the train that was getting smaller every moment, and walked back to my bag to find that my fountain pen had broken and stained both the bag itself and the notebooks inside it. I returned home later than usual that day. My mother saw the scrapes on my elbow and knees, but before she could utter a word I said: “We had sports class today!” She believed me, and told me to go clean myself up and get ready for lunch.

I entered the house delighted that this adventure had ended up well, an adventure in which I had seen (on my walk back home) many wonders: the bedouin houses built of clay and palm fronds, as well as a great number of goats, sheep, camels, donkeys and dogs. There were also all those new scents and smells that I would never forget, and the many strange and unfamiliar faces that I gazed at as I walked—so different from the well-known faces that I always saw on my usual stroll home from school.

The thought crossed my mind that I would have perhaps seen even greater wonders if I had gone all the way to Suez and then returned on foot—at the time, I did not realise how far Suez really was from Ain Shams. Yet this adventure was a great one to tell my schoolmates about, and perhaps I would someday repeat the experience to a place a bit farther away.



< previous scene / next scene >



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Nietzsche, Post-Anarchism and the senses Vol.IV

In the arena of politics, anarchism existed by letting the senses speak. Anarchism is, simply, senses speaking.

*In “Gramsci is Dead” [5], very interestingly Day says, “At the same time as he reproduced much of what came before him, however, Bakunin made certain advances that are relevant to the emergence of the logic of affinity”. Basically he means that, although Bakunin repeated many hegemonic, non-anarchistic stuff like Proudhon, Godwin and the like, at certain moments he came close to being anarchistic, and some of his steps were relevant for the emergence of anarchistic politics!

Prejudice about a modernist anarchism is so strong that when these writers see an anti-modernist aspect of Bakunin for example, they either take it as an exception or something said inadvertently, or worse, as a contradiction! For example for Call, “Bakunin provides us, perhaps quite inadvertently, with a point of departure for postmodern anarchism.” [6] Here, Bakunin says science was marred by a dangerous and disturbing statism. So when Bakunin talks against science, he is talking “inadvertently”, but when he talks for science, that should be what he actually believes wholeheartedly. Why is that? Why then the ‘Bakunin effect’, the ‘Bakunin heritage’ is not the effect of a ‘science admirer’ but a creative man of deed and anarchist theory? How do we know if he said this inadvertently or not? Similarly, when Newman finds out that Kropotkin and Bakunin seemed anti-essentialist in some of their claims, he interprets these as ‘contradictions’! Whereas, the only contradiction is between the modernist image of anarchism and the real ‘anarchist effect’.

*Call sees Bakunin’s politics as a Royal science. But when we see ‘new anarchism’, as formulated by David Graeber, as a movement that takes organization principles as its ideology, what kind of a human essence will we find here? Is ‘new anarchism’ a nomad science or a royal science?



< go back to Vol. III



Footnotes

5. Ibid., p. 113.
6. Ibid., p. 68.



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Free as Air and Water

freeasair“Allora and Calzadilla”
Under Discussion, 2005; Single Channel Video with Sound, 6:14
Copyright Allora and Calzadilla
Courtesy Gladstone Gallery



FREE AS AIR AND WATER
Wednesday, September 16 to Saturday, October 27, 2009
Opening reception Wednesday, September, 16, 7-9 pm

Allora and Calzadilla, Amy Balkin, Robert Bordo, The Bruce High Quality Foundation, Ross Cisneros, Amy Franceschini and Free Soil, Andrea Geyer, Hans Haacke, Paul Ramirez Jonas, Runo Lagomarsino, Andrea Polli, Marjetica Potrč, Simon Starling, Temporary Services, Oscar Tuazon, Lidwien Van de Ven

Curated by Saskia Bos and Steven Lam

EXHIBITION DETAILS
Opening Reception: Wednesday, September 16, 2009, 7-9pm
Exhibition on view: September 16-October 27, 2009
Gallery Hours: Tuesday-Saturday, 11-6pm

41 Cooper Gallery
The Cooper Union School of Art, 41 Cooper Square (3rd Ave. b/w 6th and 7th Sts.)
Lower Level 1,
NYC, NY 10003



The Cooper Union School of Art’s exhibition Free as Air and Water opens Wednesday, September 16, 2009 and will run to Saturday, October 27, 2009. In connection with the exhibition there will be a series of conferences, the first before the opening reception, 9/16, from 5 to 7 pm in The Great Hall and the second on 10/12 from 7 to 9 pm in the Frederick P. Rose Auditorium.

The exhibition takes Peter Cooper’s quote that “Education should be Free as Air and Water” as a starting point. The exhibition addresses the spirit of this statement by recognizing the difference between then (1859) and now (2009). Today, air, water, land, an all are all subordinated to the logic of privatization impacting the environment in challenging ways. As the past few decades have witnessed how global power has systematically distributed the world’s resources in unfair ways, concerns such as human rights become increasingly tied to issues involving land, space, and environmental justice.

Free as Air and Water poses these questions for our contemporary moment linking a broad set of issues such as public access to resources, political ecology, and governmentality within a group exhibition that features a diverse array of artistic operations and tactics. Featuring projects that are rigorous and poetic in its conceptual processes, the exhibition provides a needed density when one discusses the role of art in relation to ecology.

Free as Air and Water inaugurates the 41 Cooper Gallery’s exhibition program to the public and is scheduled to open along with the New Academic Building in September 2009, which commemorates Cooper Union’s 150th anniversary. The building designed by Thom Mayne and the architectural firm, Morphosis, inaugurates the first green academic laboratory building in NYC.



For more information, please visit the cooper union web-site www.cooper.edu



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“Cinema & Environment” Cycle

Cinema & Ambiente



STARTS TODAY!
September 2009 > July 2010

In collaboration with the Cinemateca Portuguesa, the Gulbenkian Environment Program is going to present in 15th of September, Tuesday, 21h30, in the Cinemateca, the first session of the Cinema & Environment cycle, with the film Escapes, of Todd Haynes. The objective of this cycle of Cinema is to motivate an argument widened with the public about the environmental thematic, counting for that with the contribution of public personalities of diverse areas, invited for comment the film.

It carried out in 1995, Escapes to count the history of Carol White, that develops an inexplicable environmental illness, creating allergies to all the kind of chemists of the daily life. It ends up him to be diagnosed to “illness of the 20th century”. After projection, Teresa Gouveia is going to throw the debate about this film, that questions the artificial environment in that we live.

To second session of the cycle, commented by Inês Pedrosa, carries out-itself to 13th of October with the German film Die Wolke (“The Cloud”), of Gregor Schnitzler, 2006, in that two youths live a loving relation in the context of a nuclear accident nearby Frankfurt that throws the panic in the country.

The sessions of the Cinema & Environment cycle are all of free entrance and carry out itself monthly in the Cinemateca Portuguesa.



See the program HERE



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Participate or DIE

participate or die

NEW LIFE COPENHAGEN is a contemporary art festival. The festival takes the form of a social experiment and is part of the official program for the United Nations Climate Change Conference 2009.



All that you have to know about this festival!



Submit your work HERE



NEW LIFE COPENHAGEN
Wooloo.org is organizing the people of Copenhagen to open their homes to 5.000 environmental activists during the United Nations (UN) Climate Change Conference in Denmark this December.

Utilizing this large-scale human meeting as its exhibition platform, the NEW LIFE COPENHAGEN festival invites artists and curators to submit work proposals.

New Life Happenings. Propose a happening or event for the thousands of NEW LIFE COPENHAGEN hosts and guests during the UN Conference. Your concept should involve collective action and will be implemented alongside works by artist groups Superflex (DK), Signa (DK/A) and Raketa (SE) among others.

To learn more about NEW LIFE COPENHAGEN and to apply for participation, go to: http://www.wooloo.org/festival



PARTICIPATE OR DIE

From December 7th to 18th, 2009, representatives from 192 nations will gather in Denmark for the UN Climate Change Conference to reach an agreement on a new global climate treaty to replace the Kyoto Protocol. In addition to the large number of official UN delegates, thousands of activists and Non-Governmental Organizations are bound for the conference which has been called: “Humanity’s last chance to combat a climate problem that is now all but overwhelming.” (Tim Flannery, Scientist and environmental activist)

However, there will not be enough hotel space to accommodate most of these visitors, as all hotels in Copenhagen and the surrounding area (including Sweden) have already been booked for the official delegates. Furthermore, even if they were available, many visitors from all over the world would not be able to afford them anyway.

In order to help solve this substantial problem, NEW LIFE COPENHAGEN is running a volunteer-based campaign to get private Danish homes to open their door to the thousands of visitors. Through street campaigns and collaborations with local organizations, NEW LIFE COPENHAGEN aims to reach this goal by November.



ANOTHER WORLD IS POSSIBLE?

At the end of Al Gore’s film “An Inconvenient Truth”, Gore lists ten simple life rules to combat global warming. These include using less hot water, recycling more, etc. While Wooloo.org supports this sustainable thinking, we also believe that the real problem will not be solved by asking individuals to modify their behaviour but only through addressing the wrongs of a global economic system that thrives on exploiting natural resources and people.

Seen in this way, the climate crisis is not just a threat but also an opportunity: The opportunity to create transnational commitment around radical re-thinkings of a destructive system. The first step to create such change, is to develop alternatives to the current system and our existing cultural codes.



That is our mission with NEW LIFE COPENHAGEN.

By asking artists to develop happenings and reflections for a new life – and then request that thousands of participants implement them – Wooloo.org aims beyond the traditional art exhibition to become an active organizer of experiments in civic engagement and social empowerment.



PEOPLE BEHIND
NEW LIFE COPENHAGEN is organized by the artists-run community Wooloo.org.

Founded in 2002, Wooloo.org is today used by more than 13.000 artists from over 140 countries. Wooloo.org projects have been presented in such places as: Artists Space (USA), White Box (USA), Basel Kunsthalle (Switzerland) and the Third Guangzhou Triennial (China).

For further questions about NEW LIFE COPENHAGEN or Wooloo.org, please contact Martin Rosengaard;
email: contact@wooloo.org / phone: +45 6171 6101,

Wooloo.org,
Pastursvej 46,



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Comício-Instalação




30 September > 11 October



“COMíCIO-INSTALAÇÃO”, in english, “COMISSION-INSTALLATION”, is an installation event that occupies all the three floors upstairs to Estúdio PerFormas in the marvellous city of Aveiro in Portugal, in a spot with a wonderful view to the water canals, reminding Venice.

“COMISSION-INSTALLATION”, reuse the political propaganda posters surrounding the urban area these days. The aim is to empty rhetoric of these posters media, both graphic and text, printing an urgency and immediacy of reflection on the political process that is eminently. This is a community project that have his own irony. The event cover all ages and invite them to write what’s on their mind.



Artistic and technical
collective design and implement | technical support and light by Joana Oliveira |
executive production and graphics by Pedro Fonseca

Prices
Free entrance

Rating
For all ages

Address
Estúdio PerFormas |
Teatro Avenida |
Largo do Mercado, 1 |
3800 – 223 Aveiro

performas.org

Contacts
234 192 331 |
performas@performas.org



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Remade in Portugal

jardim de Eden - Joana Vasconceloshigh resolution

photo by Rita Burmester

Joana Vasconcelos
jardim de Eden
dimensões variáveis



Remade in Portugal
EXHIBITION of ECO-DESIGN AND FINE ARTS



for this weekend in Lisbon – ends 13 September
Museu da Elecrticidade



press | PT



Remade in Portugal, is a production of the Portuguese Agency for the Environment in collaboration with the Cremascoli, Okumura e Rodrigues arquitectos, lda.. This exhibition transports you to the museum of electricity where are mentality inventive use of materials used to make parts of eco-design and construction work art, contemporary practices ill-suited to raise public realizing that small gestures of everyday life can have a major influence in building a better future. These practices are divided into 2 fields: pre-consumer and post-consumption. For pre-consumer means the recycling of waste from industrial production that is normally assumed by the industry itself, for post-consumption means the recycling of packaging waste and domestic waste.

The title was influenced by the original project Remade in Italy. This project was created in 2004 by the architect Marco Capellini in collaboration with the Italian organization “Regione Lombardia” and among others, the Ministry of Environment and the various consortia to recycling. The success of the initiative led to the internationalization and, currently, the concept “Remade” is already implemented in several countries in Europe and Latin America.

Allied to this project is the philosophy of the need to change habits for the prevention and slowing down the growing danger of climate change caused by humans. The sensitivity to this issue has to be worked and why not bring the idea to the public by presenting the problem and the solution of the same? 2050 will be the year when humanity will have already fulfilled their Millennium promises, reduction of carbon dioxide, the end of the trap of extreme poverty, to bet in new sustainable technologies, and changing attitudes. All this for the sake of future generations. So cooperation in all modes of expression and communication should serve the purpose of preventing student. The task is difficult but not impossible!



Practical information

> Timetables
10h – 18h | Tuesday to Sunday (closed on Mondays)

> Address

Av. de Brasília, Central Tejo
1300-598 Lisboa

Tel. 21 002 81 90
Fax. 21 002 81 04 / 39

E. fundacaoedp@edp.pt
www.fundacao.edp.pt
www.remadeinportugal.pt/default



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