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Journal articles on the topic 'Bardo museum'

Author: Grafiati

Published: 8 June 2024

Last updated: 31 July 2025

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1

Ferrando, Viola Maria. "Shakespeare 24/25: al museo con il Bardo." Altre Modernità, no. 32 (November 30, 2024): 521–37. https://doi.org/10.54103/2035-7680/27333.

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La riunione dell’ICOM (International Council of Museums) avvenuta nel 2022 ha stabilito una nuova definizione di museo. Alla luce di questo, quale può essere la funzione di un museo shakespeariano oggi? Shakespeare è l’autore inglese per eccellenza. Non è stato facile “esportarlo” ed aprire una colossale biblioteca a lui dedicata con tanto di museo negli Stati Uniti (la Folger Shakespeare Library) e la inaugurazione del nuovo Museum of Shakespeare a Londra è risultata più difficile del previsto e quindi posticipata al 2025. Tenendo presente i recenti avvenimenti politici (es. Brexit), il museo

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Bouhamed, Rym. "Spatial evaluation of the museum experience in converted heritage: the case of the National Bardo Museum in Tunisia." Acta IMEKO 13, no. 3 (2024): 1–8. http://dx.doi.org/10.21014/actaimeko.v13i3.1771.

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This paper addresses the evaluation of the conversion of the Bardo museum in Tunisia. Indeed, buildings converted into exhibition spaces rarely adapt perfectly to their new functions. Following this perspective, we propose to answer two major questions: How can we objectively evaluate the conversion of the Bardo museum, which was originally built as a seat of power and residence purposes and converted into an exhibition space? What criteria can be used to evaluate it while respecting international charters? Through the spatial analysis carried out on the subject, our approach allowed us to hig

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Fekih-Romdhane, Feten, Leila Chennoufi, and Mejda Cheour. "PTSD and Depression Among Museum Workers After the March 18 Bardo Museum Terrorist Attack." Community Mental Health Journal 53, no. 7 (2017): 852–58. http://dx.doi.org/10.1007/s10597-017-0085-z.

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Kebir, Ahlem, Sabrina Kacher, and Daniel Meneveaux. "PRADO: An Education Tool for Moorish Architectural Heritage through Virtual Reality." Digital Presentation and Preservation of Cultural and Scientific Heritage 10 (September 13, 2020): 195–204. http://dx.doi.org/10.55630/dipp.2020.10.14.

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This article presents a workflow for creating a 3D virtual environment, dedicated to the architectural heritage education. The objective is to make the process accessible to any museum, through a space by space construction. The obtained results are employed in a virtual tour of the Bardo of Algiers, a witness to Moorish palatial architecture.

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Høigilt, Jacob, and Kjetil Selvik. "Debating terrorism in a political transition: Journalism and democracy in Tunisia." International Communication Gazette 82, no. 7 (2020): 664–81. http://dx.doi.org/10.1177/1748048519897519.

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In March 2015, in the midst of a political transition, Tunisia was rocked by a terrorist attack at the Bardo Museum in downtown Tunis in which 21 people were killed. How did Tunisian journalists manage the tension between a heightened sense of insecurity and the country’s uncertain democratic development? This article analyses journalistic commentary on the causes and implications of terrorism four years into the transition sparked by the Arab uprisings. It provides an empirically nuanced perspective on the role of journalism in political transitions, focusing on journalists as arbitrators in

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Moumni, Ridha. "Archaeology and Cultural Policy in Ottoman Tunisia Part II: Muhammad Khaznadar (1871–99)." Muqarnas Online 38, no. 1 (2021): 223–52. http://dx.doi.org/10.1163/22118993-00381p08.

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Abstract This article is the second part of a study focusing on Muhammad Khaznadar’s role in the history of archaeology in nineteenth-century Tunisia. Whereas part I traced the meteoric rise of Muhammad Khaznadar as a Tunisian cultural figure, the second part of this inquiry examines Khaznadar’s fall from power and the end of his monopoly over the country’s antiquities. Following the dismissal of his father, Mustafa Khaznadar, as grand vizier in 1873, Muhammad’s artifacts were seized by the bey. The Khaznadar collection then attracted the attention of the new grand vizier, Khayr al-Din (1873–7

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Bugeja, Norbert. "Five Years and Count(er)ing: Memoir after Memoir." CounterText 6, no. 1 (2020): 26–32. http://dx.doi.org/10.3366/count.2020.0180.

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In this retrospective piece, the Guest Editor of the first number of CounterText (a special issue titled Postcolonial Springs) looks back at the past five years from various scholarly and personal perspectives. He places particular focus on an event that took place mid-way between the 2011 uprisings across a number of Arab countries and the moment of writing: the March 2015 terror attack on the Bardo National Museum in Tunis, which killed twenty-two people and had a profound effect on Tunisian popular consciousness and that of the post-2011 Arab nations. In this context, the author argues for

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Porshnev, Valeriy P. "Landscape art of Roman Africa." Vestnik of Saint Petersburg State University of Culture, no. 3 (60) (2024): 66–70. http://dx.doi.org/10.30725/2619-0303-2024-3-66-70.

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The cultural space of Roman Africa includes the territory of four provinces (Africa Proconsularis, Numidia, Mauretania Caesarea and Mauretania Tingiana), later united in the African Exarchate. Common borders, Mediterranean climate, more than a thousand-year history of horticulture and agriculture, starting with the Phoenician colonists who left to the Romans a rich heritage, the Romanization of the provinces, which ended with the granting of citizenship to the entire free population (edict of Caracalla 212th), the proximity of Italy and the common land holdings of Roman aristocrats on both sid

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Bonadio, Maria Claudia. "“Traje: um objeto de arte?”: Pietro Maria Bardi, o wearable art e o museu fora dos limites." Visualidades 15, no. 2 (2017): 163. http://dx.doi.org/10.5216/vis.v15i2.41187.

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Neste artigo analiso a importância da exposição Traje: um objeto de arte? realizada no Museu de Arte de São Paulo em 1987, como parte do projeto de integração entre arte e moda, que foi defendido por Pietro Maria Bardi, diretor do Museu na época. AbstractThis article analyzes the importance of the exhibition Dress: an object of art? held in the São Paulo Art Museum in 1987, as part of the project of integration between art and fashion proposed by Pietro Maria Bardi, then director of the Museum at that year. ResumenEn este artículo analizo la importancia de la exposición Traje: un objeto de art

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Cordero, María Eugenia, and Andrea Beltramo. "Museo Barda del Desierto, una arquitectura de la experiencia: conversación con Luis Camnitzer." Artilugio, no. 10 (September 1, 2024): 251–70. http://dx.doi.org/10.55443/artilugio.n10.2024.46348.

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The Barda Museum of the Desert [mBDD] extends over a territory of seventy hectares, in the municipality of Contralmirante Cordero, in the province of Río Negro, northern Patagonia, Argentina. It is an independent platform for production, training and dissemination, which promotes transdisciplinary research and highlights the different methodologies of science, architecture and arts. Its perspective, as an eco-museum, is linked to cultural geography and its relationship with the social, community, environmental and territorial questions of the region. The mBDD seeks to provoke and promote the d

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Cossio, Gustavo, and Alexandre Schiavoni. "As exposições do IAC/MASP (1951-1953) e do IDI/MAM-RJ (1968-1978): institucionalização do design e industrialização." História Unicap 3, no. 6 (2016): 463. http://dx.doi.org/10.25247/hu.2016.v3n6.p463-481.

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Este estudo trata do papel relevante que determinadas exposições e instituições museológicas tiveram para a difusão do design moderno no Brasil. Os nomes aqui apresentados contribuíram com a organização e projetos de exposição de design que, hoje, acrescentamno estudo da história do design no Brasil. Assim, são analisadas as ações no nível institucional, com o foco em dois museus, o Museu de Arte de São Paulo – MASP e seu Instituto de Arte Contemporânea – IAC, e o Museu de Arte Moderna do Rio de Janeiro – MAM-RJ, que sediou o Instituto de Desenho Industrial – IDI. No primeiro, são importantes

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Cardoso de Mello, Janaina. "MUSEOGRAFIA DO TRABALHO E ENSINO EM UM BARCO MUSEU:." História e Cultura 12, no. 1 (2023): 83–113. http://dx.doi.org/10.18223/hiscult.v12i1.3812.

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O texto apresenta como objeto de pesquisa a fragata da Marinha “ARA Presidente Sarmiento”, que integra a paisagem, o turismo, o ensino, a educação patrimonial e a história náutica da Argentina. Aborda-se a transição da embarcação militar funcional, de 1872, em patrimônio cultural e barco museu no século XX. A pesquisa buscou identificar os processos de patrimonilização e musealização, avaliando sua narrativa na Educação Patrimonial, por serem temáticas relacionais ainda incipientes nos estudos das Ciências Humanas e Sociais. A coleta de informações histórico-documentais e a visita técnica ao o

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Bieczyński, Mateusz Maria. "Muzea w internecie w odpowiedzi na „kulturowy szok” pandemii COVID-19." Ochrona ludności i dziedzictwa kulturowego 2 (May 30, 2023): 121–44. http://dx.doi.org/10.4467/29563763.oldk.23.008.17766.

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Wpływ pandemii COVID-19 na sektor kultury na całym świecie był bardzo silny. Od samego początku stało się jasne, że zmiany wynikające z wprowadzonych ograniczeń nie pozostaną obojętne dla działalności muzeów i galerii. Według przewidywań UNESCO z maja 2020 roku 10% muzeów dotkniętych skutkami pandemii miało nie zostać ponownie otwartych. To dotyczyło ogromnej liczby 8 550 muzeów, które mogły nigdy się nie otworzyć. Zderzenie instytucji kultury z nową rzeczywistością określono jako „dramatyczne” i nazwano „szokiem kulturowym”. Muzea musiały szybko zareagować na niespodziewane wydarzenia. COVID-

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Bardi, Lina Bo. "Museu de Arte de São Paulo no Brasil." Risco: Revista de Pesquisa em Arquitetura e Urbanismo (Online), no. 20 (July 12, 2014): 32. http://dx.doi.org/10.11606/issn.1984-4506.v0i20p32-34.

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Lima, Zeuler, and Sandra Vivanco. "Culture translated and devoured: two Brazilian museums by Lina Bo Bardi." Journal of Romance Studies 2, no. 3 (2002): 45–60. http://dx.doi.org/10.3828/jrs.2.3.45.

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Fabris, Yasmin, and Ronaldo de Oliveira Corrêa. "A mesma exposição, acionamentos conceituais distintos." MODOS: Revista de História da Arte 6, no. 2 (2022): 20–57. http://dx.doi.org/10.20396/modos.v6i2.8668469.

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A mostra A Mão do Povo Brasileiro foi apresentada pela primeira vez em 1969 na inauguração do novo edifício do Museu de Arte de São Paulo (MASP), na Avenida Paulista. A estratégia curatorial e expográfica, elaborada pela arquiteta italiana Lina Bo Bardi, propôs a disposição dos artefatos em núcleos temáticos, sugerindo uma taxonomia da cultura material brasileira. Em 2016, após uma reestruturação administrativa e conceitual no MASP, a mostra foi remontada, na mesma sala de exibição, respeitando a expografia e curadoria originais. Este texto tem como objetivo descrever como ocorreu a nova encen

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Fabris, Yasmin, and Ronaldo de Oliveira Corrêa. "A mesma exposição, acionamentos conceituais distintos." MODOS: Revista de História da Arte 6, no. 2 (2022): 20–57. http://dx.doi.org/10.20396/modos.v6i2.8668469.

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A mostra A Mão do Povo Brasileiro foi apresentada pela primeira vez em 1969 na inauguração do novo edifício do Museu de Arte de São Paulo (MASP), na Avenida Paulista. A estratégia curatorial e expográfica, elaborada pela arquiteta italiana Lina Bo Bardi, propôs a disposição dos artefatos em núcleos temáticos, sugerindo uma taxonomia da cultura material brasileira. Em 2016, após uma reestruturação administrativa e conceitual no MASP, a mostra foi remontada, na mesma sala de exibição, respeitando a expografia e curadoria originais. Este texto tem como objetivo descrever como ocorreu a nova encen

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Pereyra, Martín O., Boris L. Blotto, Diego Baldo, et al. "Evolution In The Genus Rhinella: A Total Evidence Phylogenetic Analysis Of Neotropical True Toads (Anura: Bufonidae)." Bulletin of the American Museum of Natural History 2021, no. 447 (2021): 1–157. https://doi.org/10.1206/0003-0090.447.1.1.

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Pereyra, Martín O., Blotto, Boris L., Baldo, Diego, Chaparro, Juan C., Ron, Santiago R., Elias-Costa, Agustín J., Iglesias, Patricia P., Venegas, Pablo J., C. Thomé, Maria Tereza, Ospina-Sarria, Jhon Jairo, Maciel, Natan M., Rada, Marco, Kolenc, Francisco, Borteiro, Claudio, Rivera-Correa, Mauricio, Rojas-Runjaic, Fernando J.M., Moravec, Jiří, De La Riva, Ignacio, Wheeler, Ward C., Castroviejo-Fisher, Santiago, Grant, Taran, Haddad, Célio F.B., Faivovich, Julián (2021): Evolution In The Genus Rhinella: A Total Evidence Phylogenetic Analysis Of Neotropical True Toads (Anura: Bufonidae). Bulleti

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Chmielowska, Paula. "Odmowa restytucji w orzeczeniu Sądu Apelacyjnego Stanów Zjednoczonych w sprawie Marei von Saher przeciwko Norton Museum of Art w Pasadenie i Norton Simon Art Foundation." Gdańskie Studia Prawnicze, no. 2(50)/2021 (July 6, 2021): 269–75. http://dx.doi.org/10.26881/gsp.2021.2.20.

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   W bardzo rozczarowującym orzeczeniu, w którym sąd odrzucił apelację Marei von Saher, Dziewiąty Obwód Sądu Stanów Zjednoczonych zdecydował 30 lipca 2018 r., że Norton Simon Museum w Pasadenie (pozwany) może zatrzymać prace Lucasa Cranacha Starszego pt. Adam i Ewa. Von Saher jest jedyną spadkobierczynią żydowskiego handlarza dziełami sztuki Jacquesa Goudstikkera, który zmarł w 1940 r., pozostawiając po sobie ogromną kolekcję dzieł sztuki, za- kupionych przez niemieckiego oficera. Rodzina próbowała odzyskać te rodzinne dobra, ponieważ zostały sprzedane w

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Makiłła-Polak, Julianna. "Zakaz dotykania eksponatów – bezwzględna konieczność czy zbędne utrudnienie? Problematyka bardzo bliskiego kontaktu odbiorcy z eksponatem." Studia Prawnoustrojowe, no. 44 (January 6, 2020): 277–94. http://dx.doi.org/10.31648/sp.4909.

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This paper analyses the issue of visitors touching the exhibits and the touching ban common in museums and galleries. In this analysis, it wasassumed that the touching ban can be considered in two different ways – as an absolute necessity and as an unnecessary impediment. Accordingly, theauthor presents issues, doubts and examples for each of the above-mentioned approaches.

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TIMOSSI, GIOVANNI, and PETER HUEMER. "Sattleria enrosadira sp. nov., a new cryptic, high alpine species from Northern Italy revealed by DNA barcodes and morphology (Lepidoptera, Gelechiidae)." Zootaxa 5128, no. 3 (2022): 435–43. http://dx.doi.org/10.11646/zootaxa.5128.3.8.

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Sattleria karsholti Huemer & Hebert, 2011 is re-examined based on recently collected material, museum vouchers, and DNA barcodes. Adult and male genitalia morphology and molecular data of the COI barcode region support the existence of two allopatric species, S. karsholti, from the type locality of Pizo Arera in the Orobian Alps (Bergamo Province, Italy), and S. enrosadira sp. nov. from Monte Baldo, Adamello and the Brenta group (Trento and Verona Provinces, Italy). Adults and male genitalia of both species are figured; the females of both species are unknown.

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Rimkutė, Gabrielė. "Netitnaginių uolienų apdirbimo technologijos ir dirbinių gamyba finaliniame paleolite–mezolite Lietuvoje." Archaeologia Lituana 13 (January 1, 2012): 29–65. http://dx.doi.org/10.15388/archlit.2012.0.1189.

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Uolienų apdirbimas yra ankstyviausia ir ilgiausiai kada nors taikyta technologija, kurios raidą jau daug metų bando analizuoti visų šalių archeologai, taip pat ir Lietuvos akmens amžiaus tyrėjai. Deja, mūsų šalies finalinio paleolito–mezolito laikotarpiai rekonstruojami remiantis vien titnago uolienos apdirbimo technologijų nagrinėjimu. Kitos uolienos tampa tyrimų objektu tik analizuojant neolitą ar vėlesnius laikus....NON-FLINT RAW MATERIAL MANUFACTURE TECHNOLOGIES AND TOOL MAKING TECHNOLOGIES IN FINAL PALAEOLITHIC–MESOLITHIC LITHUANIAGabrielė RimkutėSummaryThe investigation of non-flint raw

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Bonadio, Maria Claudia. "A moda no MASP de Pietro Maria Bardi (1947-1987)." Anais do Museu Paulista: História e Cultura Material 22, no. 2 (2014): 35–70. http://dx.doi.org/10.1590/s0101-47142014000200003.

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O objetivo deste artigo é evidenciar a centralidade das ações ligadas à moda e à formação da Seção de Costumes do MASP no projeto de museu e na concepção de arte de Pietro Maria Bardi no período 1947-1987, e como tais ações teriam sido relevantes para a instituição de uma visualidade e uma história para a moda nacional. Demonstra-se como a trajetória de P. M. Bardi na Itália, ou seja, sua atuação como galerista e comerciante de artes, jornalista, bem como seu contato com a ideologia e as ações do Regime Fascista no campo das artes e da moda, influenciou diretamente suas ações em relação ao des

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Mashman, Valerie. "Four Plaques Commemorating Semut Operations in Borneo." Sarawak Museum Journal LXXXVI, no. 107 (2023): 21–32. http://dx.doi.org/10.61507/smj22-2023-55hj-02.

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A plaque commemorating the Allied Z Special operatives in Borneo and their local counterparts during the Japanese Occupation of Sarawak 1941-1945, is now on display at the Borneo Cultures Museum. A replica of this plaque was placed in Bario in 2013. Two other wooden plaques were made as memorials of operations of the Z Special Unit working behind Japanese lines training local guerrillas during the Japanese Occupation. This paper traces the background and history of each of these four plaques, which were erected at a time when there was no circulation of written print in the interior of Sarawak

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Moratelli, Valmir. "IDOSOS DE BARRO: A REINVENÇÃO DA VELHICE NA ARTE FIGURATIVA DO [SER]TÃO." Movendo Ideias 28, no. 1 (2023): 120. http://dx.doi.org/10.17648/movideias-v28n1-2936.

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O artigo busca contribuir com as reflexões sobre a relação entre cultura, memória e educação, ao investigar possibilidades de intepretação da arte figurativa do sertão brasileiro, na análise de obras do acervo do Museu do Pontal, localizado no Rio de Janeiro. A metodologia utilizada parte do embasamento teórico da sociologia de Pierre Bourdieu, da representação de Stuart Hall e Kathryn Woodward e da crítica sociológica proposta por Norbert Elias. A hipótese é de que nestas obras está preservada uma possibilidade de organização social diferente da que é imposta pelo capitalismo moderno, em que

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Latorraca, Giancarlo Salvador. "O artefato como dispositivo de profanação." Revista ARA 8, no. 8 (2020): 191–209. http://dx.doi.org/10.11606/issn.2525-8354.v8i8p191-209.

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O presente trabalho busca compreender aspectos ligados à profanação dos campos da arte e do design, expressos nos ideários do movimento Dadá e da obra de Lina Bo Bardi, a partir da apropriação simbólica de imagens e objetos do cotidiano, trazendo à luz novos procedimentos técnicos e plásticos que subverteram percepções pré-estabelecidas sobre a arte, os artefatos e os museus, como reação estética e política, vislumbrando uma revisão crítica da sociedade ocidental.

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Pisani, Daniele. "Ripensare Lina Bo Bardi Il Museu de Arte de Sao Paulo dal mito alla storia." TERRITORIO, no. 85 (September 2018): 7–18. http://dx.doi.org/10.3280/tr2018-085001.

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Cybelle, Lima. "Fashion in the Museum: The Patrimonialization of the Textile Art Collection of the São Paulo Museum of Art (MASP)." Art Style, Art & Culture International Magazine 12, no. 12 (2023): 75–98. https://doi.org/10.5281/zenodo.8309997.

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Art Style | Art & Culture International Magazine Abstract This paper presents the importance of the collections of clothing and textile artistic artifacts patrimonialized in museum spaces and, therefore, their representations, simultaneously, as vectors for the dissemination of art and fashion culture. This paper describes the research results on the significance of the clothing collection at the São Paulo Museum of Art Assis Chateaubriand (MASP). The focus is on the textile artifacts displayed in the museum, which serve as important means of disseminating art and fashion cultu

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Folga-Januszewska, Dorota. "Nowe zagrożenia dla muzeów. Między zmianami klimatu a sztuczną inteligencją." Ochrona ludności i dziedzictwa kulturowego 2 (May 30, 2023): 97–119. http://dx.doi.org/10.4467/29563763.oldk.23.007.17765.

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Celem artykułu jest zwrócenie uwagi na dwa typy zagrożeń coraz częściej obecnych w muzeach. Pierwsza grupa zagrożeń stanowi współcześnie przedmiot wielu publikacji i rozważań naukowych, politycznych i społecznych – zmiany klimatyczne powodują bowiem nie tylko zagrożenie życia ludzi i destrukcję naturalnego środowiska czy migracje, w tym kulturowe, ale także zmieniają metody ochrony dziedzictwa praktykowane dotychczas. Zmiany te są możliwe między innymi dzięki stosowaniu zaawansowanych technologii coraz częściej sterowanych sztuczną inteligencją, których zadaniem jest interpretacja tzw. wielki

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Ricardo, Kaique Leonardo, and Mariana Petruccelli Pires Watzel. "RESTAURO DO ESPAÇO PÚBLICO - PATRIMÔNIO HISTÓRICO E REQUALIFICAÇÃO URBANA PROPOSTAS DE LINA BO BARDI." Revista Contemporânea 4, no. 11 (2024): e6647. http://dx.doi.org/10.56083/rcv4n11-118.

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O artigo explora a evolução do patrimônio histórico e a restauração urbana, destacando que muitas construções perdem sua funcionalidade e significado ao longo do tempo, ficando esquecidas. Nos séculos XV e XVI, as intervenções frequentemente alteravam as características originais dos edifícios, com o Renascimento buscando reviver a estética greco-romana sem priorizar a preservação da autenticidade. O neoclassicismo do século XVIII, especialmente após as escavações de Pompéia, despertou interesse pela arte antiga e levou à criação dos primeiros museus de conservação. Pensadores como John Ruskin

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Fuchs, Walther J. "ROCK-CUT TEMPLE BY PAUL KLEE AND LINA BO BARDI: PARALLEL WORLDS OF IMAGINATION." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien 14, no. 2023 (2023): 97–122. https://doi.org/10.5281/zenodo.10064373.

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In 1951, Pietro Maria Bardi, the director of the Museu de Arte de São Paulo (MASP), planned the first solo exhibition of Paul Klee in Brazil. For this purpose, the gallerist Suzanne Feigel brought 32 works to Brazil. However, the exhibition was delayed due to problems with the customs clearance. Additionally, concerns were raised that Klee's small-scale paintings would be lost in the extensive, open exhibition space of MASP. Attempts to borrow additional works failed due to high costs and conservation reasons. Nonetheless, Klee's drawing <i>Rock-Cut Temple</i>, 1925, 251 came into the pos

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Smuka, Ingrida, and Madara Reinane. "Intangible cultural heritage (ICH) in the content of the events of ethnographic open-air museums and attraction of participants to the events." Annales Universitatis Mariae Curie-Sklodowska, sectio B – Geographia, Geologia, Mineralogia et Petrographia 73 (June 5, 2019): 155. http://dx.doi.org/10.17951/b.2018.73.0.155-167.

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<p>Niematerialne dziedzictwo kulturowe cechuje się różnorodnością i może być wyrażane w wielu formach. Treści zamieszczone w artykule dotyczą wyłącznie jednej z jego części – tradycyjnych, zwyczajowych uroczystości i wydarzeń organizowanych w łotewskich skansenach. Eventy te są bardzo popularne i gromadzą wielu odbiorców. Autorzy dokonali analizy dokumentacji dotyczących organizacji i przebiegu tradycyjnych imprez plenerowych w czterech największych łotewskich skansenach: Etnografi cznym Łotewskim Muzeum Rybołówstwa, Ventspils Open-Air Museum (Ventspils), Skansenie Jurmala (Jurmala) i Sk

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Corrêa, Amélia Siegel. "The Reconstruction of the Crystal Easels at the São Paulo Museum of Art and the Canonization of a Decolonial Expography." Journal of Curatorial Studies 11, no. 2 (2022): 156–79. http://dx.doi.org/10.1386/jcs_00068_1.

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In 2015, the São Paulo Museum of Art (MASP) opened the exhibition Picture Gallery in Transformation using the exhibit display format designed by the museum’s architect, the Italo-Brazilian Lina Bo Bardi. The crystal easels, as they became known, were conceived to converse with the building’s architecture, yet had disappeared from the museum’s second floor for almost two decades, replaced by traditional hanging methods. The purpose of this article is to examine the various reasons behind the removal of Bo Bardi’s expography and the controversies that have contributed to a new valuation of the c

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Mammadova, Aygun. "Quba rayonunun Çiləgir sikkə dəfinəsi XII – XIII əsrlərin pul təsərrüfatını açıqlayır". Scientific Bulletin 3 (2021): 47–51. http://dx.doi.org/10.54414/gedh7438.

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In the article, a coin hoard consisting of 46 coins which was found from the village of Chilagir of Guba region and now preserved in the Numismatic Fund of the National Museum of the History of Azerbaijan of ANAS, was studied for the first time. This treasure, handed over to the museum in 2006, consists of copper coins bearing the names of Azerbaijan atabegs Muhammad Jahan Pehlivan (1175 – 1186), Abubekr (1191 – 1210), Uzbek (1210 - 1225) and vassals of Azerbaijani atabegs, emirs of Derbend – Muzaffar (1136 – 1160), Bekbars (1160 – 1180), Abdal-Malik (1180 – 1225) and meliks of Ahar in South A

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Noelli, Francisco Silva, Patrícia Cardoso Monteiro, and Alexandre Viana. "Praia dos Ingleses 1: Arqueologia subaquática na Ilha de Santa Catarina, Brasil (Parte 2)." Revista do Museu de Arqueologia e Etnologia, no. 21 (December 9, 2011): 293. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2011.89978.

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Este trabalho é a continuidade do artigo publicado na Revista do Museu de Arqueologia e Etnologia (Noelli, Viana, Moura 2009), onde apresentamos: 1) a metodologia de arqueologia subaquática aplicada na escavação de um naufrágio na Praia dos Ingleses, Ilha de Santa Catarina; 2) os primeiros resultados da análise dos achados; 3) a pesquisa histórica sobre o contexto do naufrágio e da identificação da embarcação. Apresentaremos, agora, os dados que confirmam a hipótese que testávamos em 2009: que o barco pesquisado era aquele que as fontes históricas indicavam ser o liderado por Thomas Frins e ma

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Freitas, Patrícia Martins Santos. "Do cartaz ao mural." ARS (São Paulo) 18, no. 38 (2020): 219–39. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.158819.

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Este artigo aborda a trajetória do artista italiano Bramante Buffoni e sua importância para a compreensão das artes aplicadas como signo da modernidade no Brasil. Buffoni chegou em São Paulo em 1953, onde trabalhou com diversos agentes importantes do ambiente cultural paulistano, como Pietro Maria Bardi e Francisco Matarazzo Sobrinho. O artista atuou de maneira ampla, com diversos meios e técnicas, desde a linguagem gráfica dos cartazes até o campo da decoração de interiores. A presença da obra de Buffoni no acervo moderno do Museu de Arte Contemporânea da Universidade de São Paulo nos propõe

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Susila Wati, Ella, and Ibnu Burdah. "Kebudayaan, Masyarakat dan Kebebasan Pers di Tunisia." Jurnal Multidisiplin Indonesia 2, no. 3 (2023): 477–85. http://dx.doi.org/10.58344/jmi.v2i3.183.

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Artikel ini membahas tentang Kebudayaan, Masyarakat dan Kebebasan Pers di Tunisia. Dimana tunisia ini merupakan negara bagian utara benua Afrika. Dimana budaya dan identitas Tunisia ini dipengaruhi oleh interaksi antar Budaya dan etnis yang berbeda-beda. Keberagaman budaya Tunisia ini juga dipengaruhi oleh corak budaya dan sosial masyarakat Tunisia. Corak budaya Tunisia ini bisa berupa peninggalan budaya yang bisa dilihat di Musem Bardo. Adapun makanan dari Tunisia adalah olahan dari laut tengah Selatan. Corak keberagaman masyarkat Tunisia bisa juga dilihat dari pakaian tradisional. Masyarakat

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Balzani, M., F. Maietti, and L. Rossato. "3D DATA PROCESSING TOWARD MAINTENANCE AND CONSERVATION. THE INTEGRATED DIGITAL DOCUMENTATION OF CASA DE VIDRO." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 65–72. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-65-2019.

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<p><strong>Abstract.</strong> During the last decade, 3D integrated surveys and BIM modelling procedures have greatly improved the overall knowledge on some Brazilian Modernist buildings. In this framework, the <i>Casa de Vidro</i> 3D survey carried out by DIAPReM centre at Ferrara University, beside the important outputs, analysis and researches achieved from the point cloud database processing, was also useful to test several awareness increasing activities in cooperation with local stakeholders.</p><p>The first digital documentation test of the Casa

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Wisnik, Guilherme. "The Brazilian Ground Floor as an ‘Infi nite Span’." Built Environment 51, no. 2 (2025): 295–316. https://doi.org/10.2148/benv.51.2.295.

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One of the main characteristics of modern Brazilian architecture is the centrality of the structure in defining the shapes and volumes of buildings. From an early stage, this prominence of the structure was linked to a search for lightness, in which buildings sought to break free from the ground, either by rising on pilotis or by means of large spans and cantilevers, reducing the number of pillars. This is what happens in the case of the MASP (São Paulo Museum of Art), designed by Lina Bo Bardi, in which the suspension of the volume creates a large, shaded plaza, which is defi ned as one of th

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Volpe, Andrea. "Studio Zermani Associati. Nuova uscita del Museo delle Cappelle Medicee, Firenze." Firenze Architettura 27, no. 1-2 (2024): 66–79. http://dx.doi.org/10.36253/fia-15072.

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Il progetto di Paolo Zermani per la nuova uscita del Museo delle Cappelle Medicee in San Lorenzo è un brano di eloquente silenzio che risolve con la sua raffinata semplicità il difficile tema fissato dal bando di concorso. La figura di una tomba aperta è un omaggio ai sepolcri medicei ma anche una macchina teatrale che offre un inedito colpo d’occhio sull’abside della basilica trasfigurando l’uscita dal nuovo bookshop ipogeo in un’esperienza sacra. Un disegno di Michelangelo per gli affreschi della Sagrestia Nuova, conservato nelle collezioni della Famiglia Reale inglese, sembra del resto conf

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Ramos, Fernando Guillermo Vázquez, Ana Carolina Buim Azevedo Marques, and Gabriel Sousa de Freitas. "Relações entre Arquitetura e Engenharia: sobre uma escada que balança." Caderno Pedagógico 21, no. 10 (2024): e9921. http://dx.doi.org/10.54033/cadpedv21n10-393.

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O texto discute vicissitudes das relações entre Arquitetura e Engenharia num longo panorama temporal – séculos XV e XX –, salientando alguns eventos importantes no processo de formação desses profissionais e identificando as instituições que lhes deram suporte acadêmico na Europa – sobretudo na França – e no Brasil, fundamentalmente na figura do engenheiro-arquiteto. Os dados resultam de pesquisa bibliográfica, e o processo de análise foi reflexivo, aproximando-se de interpretações que nos parecem plausíveis, pelas relações que as informações traziam. Assim, a metodologia é

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Dos Santos Coutinho, Bárbara, and Ana Cristina Dos Santos Tostões. "The role of architecture in an engaging and meaningful experience of the physical exhibition." Sophia Journal 5, no. 1 (2020): 36–53. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_04.

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While recognising the part that digital media play in bringing about greater accessibility to artworks display and ensuring that they are more visible, this paper argues that the physical exhibition continues to be the primary place for the public to encounter the arts, as it can offer an engaging and meaningful aesthetic experience through which people can transcend their own existence. As such, it is essential to rethink now, in the scope of an increasing digital world, the exhibition in conceptual and methodological terms. For this purpose, the exhibition space must be considered as content

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Jarysz, Aleksandra Weronika. "Dzieło sztuki na granicy przeszłości i przyszłości. Historia i patriotyzm w sztuce nieprofesjonalnej." Sprawy Narodowościowe, no. 47 (January 29, 2016): 104–15. http://dx.doi.org/10.11649/sn.2015.055.

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A work of art – a link between the present and the past. History and patriotism in non-professional art In her article, the author discusses art of non-professional artists who shape the national identity in an original way. In the former professional art, the works which illustrated and uplifted history were very popular. This phenomenon is still present among folk, naive, intuitive artists, generally speaking – non-professionals. The work of their hands and imagination is a tool serving the purpose of national values and ideas, and is sometimes the basis for broader considerations on the hum

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Stavilă, Tudor. "Auguste Baillayre – director şi fondator al colecţiilor de artă basarabeană." Akademos 2 (August 9, 2019): 161–66. https://doi.org/10.5281/zenodo.3364383.

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The beginning of the 20th century was one of the most contradictory and controversial periods of modern European art, which spread artistic values all the way to peripheries, including Basarabia. To be sure, the new styles and trends were not promoted by some mechanical transfers of ideas and concepts, but rather by specific people. Such a person in Basarabia was Auguste Baillayre, whose work and influence left a mark on the main stages of evolution of the national art between the wars. The artist was born on May 1, 1879 in Besiers, a community in the Pyrenees on the b

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Haddad, Gisele Laura. "A História da Música De Ribeirão Preto (SP) Através de Arquivos de Músicos e Corporações." Revista da Tulha 1, no. 2 (2015): 461. http://dx.doi.org/10.11606/issn.2447-7117.rt.2015.108801.

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Durante o processo da investigação para o mestrado “Orquestra Sinfônica de Ribeirão Preto: Representações e Significado Social” (HADDAD, 2009), localizamos diversos arquivos pessoais de músicos, exmúsicos e corporações de Ribeirão Preto. Com os entraves de acesso superados, verificamos que muito da história da cidade está com a população, dentro das casas, nos álbuns de família, nas cartas e recortes de jornais, documentação pessoal, de imprensa, iconográfica, bem como manuscritos e impressos musicais entre outros documentos, muitos deles até então inexplorados. Este artigo apresenta o projeto

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Shigeru, Kayano, and Kyoko Selden. "The Goddess of the Wind and Okikurmi." Asia-Pacific Journal 14, no. 6 (2016): 101–8. https://doi.org/10.1017/s1557466016027273.

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Kayano Shigeru (1926-2006) was an inheritor and preserver of Ainu culture. As collector of Ainu folk utensils, teacher of the prominent Japanese linguist Kindaichi Kyōsuke, and recorder and transcriber of epics, songs, and tales from the last of the bards. He was also a fierce fighter against the construction of a dam in his village that meant destruction of a sacred ritual site as well as of nature. In addition, Kayano was the compiler of an authoritative Ainu-Japanese dictionary, a chanter of old epics, the founder of a museum of Ainu material culture as well as of an Ainu language school an

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Vuković, Tijana. "As a Wall Came Down…. New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Discontinuity and Fragmentation in the Core Narrative of the Cultural Institutions in Transition-Period Serbia)." Colloquia Humanistica, no. 7 (December 18, 2018): 114–34. http://dx.doi.org/10.11649/ch.2018.007.

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As a Wall Came Down… New Boundaries, New Narratives (Yugoslavism and Yugoslav Artistic Space, Discontinuity and Fragmentation in the Core Narrative of the Cultural Institutions in Transition-Period Serbia)The main aim of this overview is to trace the presence and importance of the Yugoslav narrative (dedicated to a common cultural and artistic space before, during and after Yugoslavia) as important for (re)creating and maintaining continuity and coherence in the core narrative as an internal structure of cultural institutions in Serbia, especially in the transition period (2000 – 2018). The em

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Lorrio, Alberto J., Ester López Rosendo, and Mariano Torres Ortiz. "La Fonteta (Guardamar del Segura, Alicante) y las fortificaciones fenicias de la península ibérica." Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 11 (June 22, 2022): 63–82. http://dx.doi.org/10.18239/vdh_2022.11.03.

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Se analiza el sistema defensivo de La Fonteta, una de las fortificaciones fenicias mejor conocida de la península ibérica, en el marco de las nuevas tácticas de la poliorcética implantadas en el Mediterráneo Occidental a partir de la colonización fenicia, que supusieron la rápida adopción en las costas del mediodía y el sureste peninsular de estos novedosos sistemas de fortificación que pronto se generalizaron en todo el territorio peninsular de influencia oriental.La muralla de La Fonteta, erigida en torno al 600 a. C., presenta elementos característicos de una obra de carácter oriental, como

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Zamith Cruz, Judite. "Marina. Lucchesi, Marco. Santo André (SP): Rua do Sabão, 2023." EccoS – Revista Científica, no. 67 (December 18, 2023): e25392. http://dx.doi.org/10.5585/eccos.n67.25392.

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Jogo de espelhos e palavras Analogias duma beleza transitiva Foi entre “formigas e cupins”[1] que descobri e inventei por “ver” o que lia. Do jardim a casa, numa aprazível “distração”, li Marina (do latim, marinus, “marinho”). Se ia em busca de cupins, absorvi-me logo numa bela atividade intrínseca de “ler” a natureza humana. Os estados/processos emocionais deram-se ao meu sonho acordado, frente à lua cheia. Por contraste mínimo, o que acontece no sonho propriamente dito é antes uma não narrativa, uma dissociação não controlada, exibida a superfície de fundo inacessível[2], graciosa alternativ

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Sihem, Lahlou. "Resilience Strategies of Ottoman Architecture between the 15th and 16th Centuries. Case Study of the Restoration of the Columns at the Bardo National Museum in Algiers." Proceedings of the international conference of contemporary affairs in architecture and urbanism-ICCAUA 8, no. 1 (2025). https://doi.org/10.38027/iccaua2025en0007.

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This article examines the intersection of cultural and architectural history in Algeria during the Ottoman period, with the Bardo Museum in Algiers as a key example. The National Bardo Museum is a significant symbol of Algeria's cultural and historical identity, having undergone various architectural changes that mirror the evolution of Algerian society and culture. Notable features, such as the architraves and columns, serve as silent witnesses to the nation’s turbulent history. Restoring these elements is vital for preserving this unique heritage and ensuring its legacy for future generation

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