Books on the topic 'Exhibition activities'

Every day around the world held a lot of events: exhibitions, conferences, presentations, festivals, etc. which requires professional skills, communication skills and creativity. In the textbook are given classification of activities, the technology for phased development and examples of some of them. Meets the requirements of Federal state educational standards of higher education of the last generation. Designed for students on specialties and directions of the service sector, and also for teachers, professionals, various agencies and all who have to organize events.

The "Symposion" project was launched in 2008 through collaboration between the Centre for the Strategic Development of the Italian Wine Sector (U niCeSV) of the University of Florence, within the framework of the activities of the Culture and Territory Observatory, and the Tuscan Archaeological Commission (National Archaeological Museum of Florence). The project involves the promotion of seminars and conferences, both in Italy and abroad, accompanied by exhibitions and specific publications offering insight into issues related to the presence of the vine and wine among the peoples of the Mediterranean area, from prehistoric times up to the present, and analysis of the significance of the close relationship between product, land and culture.

After its creation in 1936, the Reichskolonialbund (RKB) saw an upsurge of colonialist propaganda and recruitment. This chapter examines the variety of propagandistic tactics and activities that the RKB used in their hope to foster Germans’ emotional investment in the overseas colonies. With its annual national congresses, the RKB strengthened its members’ commitment to the cause. The RKB also planned meetings, lectures, and exhibitions that would reach the general public and would align colonialists with the public activities of Nazi organizations. Through these activities, colonialists aimed to create a mass movement. They struggled, however, with the popularization of colonialism and the circulation of “colonial kitsch” that devalued the seriousness of the colonies. Viewing themselves as an elite with privileged first-hand knowledge, colonialists doubted the depth of their new supporters’ commitment to their cause and fought to retain control over the kinds of colonialist publicity circulating in Germany.

This chapter presents an economic characterization of theft and fakery in the art world generally and with respect to American art specifically. When costs are low or benefits are high, there is more theft and fakery. That happens to be the case in the generally opaque market for art. With low national and international enforcement and higher and higher prices for art, we should not be surprised that art crime is the third largest criminal enterprise in the world. Art is used as “money” in drug operations and in money laundering of other illicit activities. Authenticity through experts, provenance, and exhibition records may add credence or establishment of authenticity to a work of art but, in many case, such “credence” may be faked. The story of art crime is told through a multiplicity of examples and “case studies,” derived primarily from theft and fakery of American art.

Under Presidents Alemán and Ruiz Cortines, Jenkins’s exhibition empire resisted attempts to rein it in, while Golden Age cinema died a slow death. Now in his seventies, Jenkins became a missionary capitalist, offering financing to friends. But his main activities were rent-seeking. He declared bankruptcy at his largest mills and used the ploy to sack workers and renege on company debts. In cinema his hegemony prompted a 1949 Film Law that promised screen quotas for Mexican films. Hollywood and Jenkins conspired to derail the quota. A second assault, in 1953, threatened expropriation and increased production subsidies. The threat vanished, and the subsidy apparatus fell under Jenkins’s sway. Was Jenkins the cause of cinema’s demise, as critics have alleged? Many were equally to blame: the state imposed a ticket-price cap, Hollywood product grew more sophisticated, producers inflated their budgets, and directors closed the doors of their guild to new talent.

With the end of the First World War, Germany became a “postcolonial” power. The Treaty of Versailles in 1919 transformed Germany’s overseas colonies in Africa and the Pacific into League of Nations Mandates, administered by other powers. Yet a number of Germans rejected this “postcolonial” status, arguing instead that Germany was simply an interrupted colonial power and would soon reclaim these territories. With the Nazi seizure of power in 1933, irredentism seemed once again on the agenda, and these colonialist advocates actively and loudly promoted their colonial cause in the Third Reich. Examining the domestic activities of these colonialist lobbying organizations, Empire in the Heimat demonstrates the continued place of overseas colonialism in shaping German national identity after the end of formal empire. In the Third Reich, the Deutsche Kolonialgesellschaft and the Reichskolonialbund framed Germans as having a particular aptitude for colonialism and the overseas territories as a German Heimat. As such, they sought to give overseas colonialism renewed meaning for both the present and the future of Nazi Germany. They brought this message to the German public through countless publications, exhibitions, rallies, lectures, photographs, and posters. Their public activities were met with a mix of occasional support, ambivalence, or even outright opposition from some Nazi officials, who privileged the Nazi regime’s European territorial goals over colonialists’ overseas goals. Colonialists’ ability to navigate this obstruction and intervention reveals both the limitations and the spaces available in the public sphere under Nazism for such “special interest” discourses.

This chapter turns more directly toward organized crime. It identifies the Chicago Heights boys and the mix of social capital processes, specifically the social closure and brokerage opportunities, that allowed this segment of the Chicago Outfit a near half century run as a highly profitable, successful criminal operation. Illegal activities associated with organized crime provided an avenue for social mobility. While these illegal operations existed from the beginning of Chicago Heights' incorporation as a city in the early 1900s, the 1920s saw a dramatic increase in the size and scope of these operations as Prohibition created a tremendous black market opportunity for illegal liquor. Exhibiting a strong entrepreneurial sense and a willingness to use violence to accomplish their goals, a select group of Italian residents in Chicago Heights allied themselves with Al Capone to gain control of the illegal liquor, gambling, and prostitution trades in the Heights.

In Berlin, decrepit structures do not always denote urban blight. Decayed buildings are incorporated into everyday life as residences, exhibition spaces, shops, offices, and as leisure space. As nodes of public dialogue, they serve as platforms for dissenting views about the future and past of Berlin. This book introduces the concept of counter-preservation as a way to understand this intentional appropriation of decrepitude. The embrace of decay is a sign of Berlin's iconoclastic rebelliousness, but it has also been incorporated into the mainstream economy of tourism and development as part of the city's countercultural cachet. It presents the possibilities and shortcomings of counter-preservation as a dynamic force in Berlin and as a potential concept for other cities. Counter-preservation is part of Berlin's fabric: in the city's famed Hausprojekte (living projects) such as the Køpi, Tuntenhaus, and KA 86; in cultural centers such as the Haus Schwarzenberg, the Schokoladen, and the legendary, now defunct Tacheles; in memorials and museums; and even in commerce and residences. The appropriation of ruins is a way of carving out affordable spaces for housing, work, and cultural activities. It is also a visual statement against gentrification, and a complex representation of history, with the marks of different periods—the nineteenth century, World War II, postwar division, unification—on display for all to see. Counter-preservation exemplifies an everyday urbanism in which citizens shape private and public spaces with their own hands, but it also influences more formal designs, such as the Topography of Terror, the Berlin Wall Memorial, and Daniel Libeskind's unbuilt redevelopment proposal for a site peppered with ruins of Nazi barracks. By featuring these examples, the book questions conventional notions of architectural authorship and points toward the value of participatory environments.

The Program MAIS: Manifestações de Arte Integradas à Saúde, initiated in 2007 at ‘Hospital das Clínicas (HC) – Universidade Federal de Pernambuco (UFPE)’, is an art therapeutic oriented program that aims to support the treatment and rehabilitation of patients and to strengthen the humanization of healthcare, reducing stress and improving the quality of life in hospital environments. This program results from an action cooperation agreement between the Health Sciences Center (CCS) through the Dept. of Pathology and the Services of Pathology, Dermatology and Dentistry; the Art and Communication Center (CAC) through the Dept. of Music, Dept. of Arts, Dept. of Information Science and Dept. of Social Communication; as well as the Biosciences Center (CB) through the Dept. of Biophysics, Dept. of Mycology, Technology and Geosciences Center (CTG) and Philosophy and Human Sciences Center (CFCH). Through the development of musical and theatrical activities, storytelling, arts and crafts workshops, clown therapy, reading mediation, art therapy workshops, painting and photography exhibitions, dance, choral singing and vocal performances, production of ‘cordel literature’, poetic/literary soirees and puppetry, the program has promoted no less than 10,000 artistic interventions in various spaces of ‘Hospital das Clínicas’, including wards, outpatient clinics, dialysis rooms, intensive care and chemotherapy units, promoting relief, comfort, entertainment and thus improving the work rate of healthcare professionals and accelerating the healing process of patients. The target public is represented by the community of ‘Hospital das Clínicas’ – patients, caregivers, healthcare professionals and students.

Bob Dylan has constantly reinvented the persona known as “Bob Dylan,” renewing the performance possibilities inherent in his songs, from acoustic folk, to electric rock and a late, hybrid style which even hints at so-called world music and Latin American tones. Then in 2016, his achievements outside of performance – as a songwriter – were acknowledged when he was awarded the Nobel Literature Prize. Dylan has never ceased to broaden the range of his creative identity, taking in painting, film, acting and prose writing, as well as advertising and even own-brand commercial production. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. This volume consists of multidisciplinary essays written by cultural historians, musicologists, literary academics and film experts, including contributions by critics Christopher Ricks and Nina Goss. Together, the essays reveal Dylan’s continuing artistic development and self-fashioning, as well as the making of a certain legitimized Dylan through critical and public recognition in the new millennium. This volume seeks to reflect the range of Bob Dylan’s multiple activities, the ‘late style’ of his creativity and his personae in all their later variety, from the Time Out of Mind album (1997) up to the release in March 2020 of ‘Murder Most Foul’. Bob Dylan (born 1941) is perhaps best-known as a singer and songwriter whose major impact occurred several decades ago. His achievements as a songwriter and master of language were – provocatively? – acknowledged when he was awarded the 2016 Nobel Literature Prize. However, Dylan has never ceased to broaden the range of his creative identity, especially through intermediality, taking in painting, film, acting, radio-presenting and prose writing, as well as advertising and even own-brand commercial production, either reinforcing or calling into question his perceived authenticity. The book highlights how Dylan has brought his persona(e) to different art forms and cultural arenas, and how they in turn have also created these personae. Chronicles, Volume One, his autobiography, charts his beginnings as a folk singer and the later recording of the Oh Mercy album. In terms of his identity as a visual artist, while Dylan’s Revisionist Art exhibition focused on his reworkings of magazine covers, the Brazil Series paintings show him extending his visual creativity to cultural spaces beyond the United States. Dylan has constantly reinvented the persona known as ‘Bob Dylan’.

Os contextos pandémico e pós-pandémico vêm impondo às cidades outras dinâmicas, outros sons, outros ecos, outros percursos, outros visitantes humanos e não humanos. Durante o confinamento, o encerramento de espaços teatrais e expositivos – bem como, durante o desconfinamento, as limitações para a sua utilização - têm tido consequências penosas nas programações artísticas e efeitos dramáticos nos quotidianos dos seus agentes (artistas, técnicos, programadores, curadores, etc.). Ao mesmo tempo, a desaceleração da vida da cidade (do trânsito, do ritmo nas ruas, do frenesim produtivo e de consumo, etc.) veio contribuir beneficamente para uma diminuição das emissões de CO2. Neste quadro, a cidade - mais concretamente as suas zonas públicas a céu aberto – surgem mais nitidamente como espaços de circulação e de interferência (ou de suspensão de interferência) entre pessoas. O que aprendemos com a experiência de confinamento e desconfinamento? Em primeiro lugar, que a cidade tem uma densidade flutuante, na medida em que as concentrações populacionais se esvaem quando nos encerramos em casa. Em segundo lugar, que o encontro com o outro (uma das prerrogativas da cidade) pode acontecer em outras escalas que não apenas a dimensão cultural. Em terceiro lugar, que o medo pode ser um sentimento público capaz de fazer implodir as próprias cidades, se não for transformado numa força para a vida. Como é que, neste processo, os artistas se organizam e se constituem como agentes na cidade? Como é que a cidade passou a ser representada? Que cidade é aquela que desejamos? Este congresso surge assim da necessidade de intensificar o diálogo entre a cidade e a arte, em particular as artes performativas. Este encontro efoi o culminar de dois anos de investigação consistente e consolidada no âmbito do projecto TEPe (Technologically Expanded Performance). Ao longo destes dois anos, desenvolvemos atividades com a comunidade com o intuito de promover um diálogo intercultural e transdisciplinar, e proporcionar o encontro com vivências urbanas variadas. Através das diferentes propostas de percursos pela cidade, mapeámos acontecimentos, hoje invisíveis, mas ainda assim presentes: desde “memórias soterradas” a “caminhadas sensoriais”, passando por registos íntimos de confinamento. O encontro visou partilhar as experiências realizadas com a contribuição de duas equipas: a portuguesa, em Lisboa, e a brasileira, em Fortaleza. Para além de apresentarmos as conclusões das pesquisas realizadas, lançamos esta chamada para apresentações, especialmente destinada a artistas e estudiosos de performance art, historiadores das cidades, antropólogos, urbanistas, geógrafos, estudiosos da escuta e do som e a todxs aquelxs a quem interessa pensar (e projectar) a vida na cidade. -------------------------------------------------------------------------------------------------------------- The pandemic and post-pandemic contexts have imposed on cities other dynamics, other sounds, other echoes, other routes, other human and non-human visitors. During the lockdown, the closure of theatrical and exhibition spaces - as well as, during lockdown unlocking, the limitations for their use - have had painful consequences in artistic programming and dramatic effects in the daily lives of its agents (artists, technicians, programmers, curators, etc.). At the same time, the slowing down of city life (traffic, the pace of the streets, the frenzy of production and consumption, etc.) has made a beneficial contribution to a reduction in CO2 emissions. In this context, the city - and more specifically its open-air public areas - emerge more clearly as spaces for circulation and interference (or suspension of interference) between people. What have we learned from the experience of national lockdown and unlocking? Firstly, that the city has a fluctuating density, insofar as population concentrations fade when we shut ourselves indoors. Secondly, the encounter with the other (one of the prerogatives of the city) can take place on other scales than the cultural dimension alone. Thirdly, fear can be a public sentiment capable of imploding cities themselves if it is not transformed into a force for life. How, in this process, are artists organised and constituted as agents in the city? How did the city come to be represented? What kind of city do we want? This congress thus arises from the need to intensify the dialogue between the city and art, particularly the performing arts. This international meeting is the culmination of two years of consistent and consolidated research within the TEPe (Technologically Expanded Performance) project. Throughout these two years, we have developed activities with the community to promote intercultural and transdisciplinary dialogue and provide an encounter with varied urban experiences. Through the different proposals of walks through the city, we have mapped events, today invisible, but still present: from "buried memories" to "sensorial walks", passing through intimate records of confinement. The meeting aims to share the experiences carried out with the contribution of two teams: the Portuguese, in Lisbon, and the Brazilian, in Fortaleza. Besides presenting the conclusions of the researches carried out, we launch this call for presentations, especially addressed to artists and scholars of performance art, historians of cities, anthropologists, urban planners, geographers, scholars of listening and sound and to all those who are interested in thinking (and projecting) life in the city.