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Decolonising-Museums.Pdf
DECOLONISING MUSEUMS A PUBLICATION OF L’INTERNATIONALE BOOKS DECOLONISING MUSEUMS COVER CREDIT Historical exhibition display in the Museum für Völkerkunde (today Weltkulturen Museum), Oceania section. Weltkulturen Image Archive. Photo: Hermann Niggemeyer, date unknown. TABLE OF CONTENTS 4 54 113 148 Introduction Catch Me If You Can! Columbus, How Do I Get Rid From the Collection Nana Adusei-Poku of My Hangover? of MACBA, Barcelona 8 Francisco Godoy Vega The Invisible and the Visible 63 152 Identity Politics and the Economy From the Collection 119 Institutional Fever in China of Reproduction in Art of M HKA, Antwerpen From the Collection Colin Siyuan Chinnery Nav Haq Jan De Vree of Museo Nacional Centro de Arte Reina Sofía, Madrid (MNCARS) 159 23 71 Lola Hinojosa Frontier imaginaries Collecting Life’s Unknows “I Guess You Guys Vivian Ziherl Clémentine Deliss Aren’t Ready 123 For That Yet… But Your Kids A Salt Box and 162 35 Are Gonna Love It” a Bracelet Conversing with a Interview: “Decolonising Museums” Ana Bigotte Vieira Painting: Decolonising Forced Closures Through the Lens of the Collections a Post-Soviet Museum in the Vivian Ziherl and Archives of the Members 96 Caucasus of L’Internationale The Culture of Coloniality Madina Tlostanova 173 Daniela Ortiz What Do We Talk About When We 37 130 Talk About Decolonisation? From the Collection of 104 From the Collection Vivian Ziherl the Van Abbemuseum, Eindhoven The Border of of MG+MSUM, Ljubljana Christiane Berndes the ‘Fourth World’ Walter Benjamin 186 Francisco Godoy Vega Biographies 41 -
Untitled" (Sem Título) (2000) // "Sem Título" Lisbon // from 06.02.2014 to 22.03.2014 (2000)
2014 ANNUAL REPORT ENERGY THAT MAKES A DIFFERENCE 11 MESSAGE FROM THE CHAIRMAN OF THE BOARD OF DIRECTORS In the message of the 2013 Annual Report, in the expectation that work on the Arts and Technology Centre would be completed in 2014, I said that it was the last year of a remarkable cycle in the life of the EDP Foundation. That cycle was marked by the structuring of the Foundation and its consolidation in Portuguese society, through important action in the three areas, Social, Cultural, Energy and Environment. Today, EDP Foundation is a key player in the construction of the foundations for action in these three areas. The start of activities at the Arts and Technology Centre was later confirmed for 2016, but this does not mean that 2014, strategically speaking, was not still the end of a cycle, opening doors to strategic and operational change with implementation already starting in 2015. It is this final configuration of the end of a cycle, which naturally impacts on the strategic lines with which the announcement of the change of CEO was associated, and with a view to 2015, that must form the context for analysis of 2014. The Strategic Agenda 2013/2015, with its five major challenges, was conditioned by the transfer of the A2E business to EDP and the postponement of the commissioning of the Arts and Technology Centre to 2016. The main actions in the aforementioned Strategic Agenda, particularly in the three core areas, continued to be implemented during 2014. However, Fundação EDP's activity that year has to be interpreted as a combination of the implementation of the Strategic Agenda 2013/2015 with the urgent need to analyse the bases for the preparation of the Strategic Agenda ANTÓNIO DE ALMEIDA Chairman of the Board 2016/2018, with 2015 being a hinge year for of Directors testing some of the necessary changes. -
45 Anos De Iscte-Instituto Universitário De Lisboa 2
45 ANOS DE ISCTE-INSTITUTO UNIVERSITÁRIO DE LISBOA 2 45 ANOS DE ISCTE-INSTITUTO UNIVERSITÁRIO DE LISBOA Carlos Oliveira Santos Prefácio de Luís Antero Reto 3 45 ANOS DE ISCTE-INSTITUTO UNIVERSITÁRIO DE LISBOA Carlos Oliveira Santos Prefácio de Luís Antero Reto Título Afirmação de Uma Identidade: 45 Anos de ISCTE – Instituto Universitário de Lisboa Autor Carlos Oliveira Santos Prefácio Luís Antero Reto Direcção de arte e design Fernando Coelho 4 Depoimentos Ákos Östör | Allan J. Katz |Ana Sampaio | André Freire | António Lopes | António Ornelle Sendi |António Ramalho Eanes | Bianor Scelza Cavalcanti | Bruno Reis | Carina Cunha | Carlos Braceiro | Carlos Lopes | Carlos Manuel da Luz Delgado Rocha | Carlos Rocha | Carlos Sá da Costa | Catarina Roseta-Palma | Charles L. Cooney | Clementina Barroso | Denis Moore | Diana Malyszek Oliveira | Dilson de Sousa Pontes Tiny | Eduardo Ferro Rodrigues | Eduardo Gomes Cardoso | Eduardo Simões | Fernando Luís Machado | Filipe Reis | Filomena Almeida | Francisco Madelino | Frederico Lustosa da Costa | Gildo Matias José | Gonçalo Amorim | Gonçalo Pernas |Graça Cordeiro | Healim Lee | Isabel Nicolau | Jandira Aguiar | João Cravinho | João Ferreira de Almeida | Jorge Correia Jesuíno | Jorge Dias | Jorge Ferreira | José Manuel Paquete de Oliveira |José Paulo Esperança | José Veiga Simão | Juan Mozzicafreddo | Juuso Veikkola | Li Yanrong | Luís Nuno Rodrigues | Luísa Lima | Maria João Amante | Maria João Rodrigues | Marina Knapic |Marina Ventura | Mário Murteira | Maurice Melenberg | Milos Carapic | Miriam -
Decolonising Museums a Publication of L’Internationale Books
DECOLONISING MUSEUMS A PUBLICATION OF L’INTERNATIONALE BOOKS DECOLONISING MUSEUMS COVER CREDIT Historical exhibition display in the Museum für Völkerkunde (today Weltkulturen Museum), Oceania section. Weltkulturen Image Archive. Photo: Hermann Niggemeyer, date unknown. TABLE OF CONTENTS 4 54 113 148 Introduction Catch Me If You Can! Columbus, How Do I Get Rid From the Collection Nana Adusei-Poku of My Hangover? of MACBA, Barcelona 8 Francisco Godoy Vega The Invisible and the Visible 63 152 Identity Politics and the Economy From the Collection 119 Institutional Fever in China of Reproduction in Art of M HKA, Antwerpen From the Collection Colin Siyuan Chinnery Nav Haq Jan De Vree of Museo Nacional Centro de Arte Reina Sofía, Madrid (MNCARS) 159 23 71 Lola Hinojosa Frontier imaginaries Collecting Life’s Unknows “I Guess You Guys Vivian Ziherl Clémentine Deliss Aren’t Ready 123 For That Yet… But Your Kids A Salt Box and 162 35 Are Gonna Love It” a Bracelet Conversing with a Interview: “Decolonising Museums” Ana Bigotte Vieira Painting: Decolonising Forced Closures Through the Lens of the Collections a Post-Soviet Museum in the Vivian Ziherl and Archives of the Members 96 Caucasus of L’Internationale The Culture of Coloniality Madina Tlostanova 173 Daniela Ortiz What Do We Talk About When We 37 130 Talk About Decolonisation? From the Collection of 104 From the Collection Vivian Ziherl the Van Abbemuseum, Eindhoven The Border of of MG+MSUM, Ljubljana Christiane Berndes the ‘Fourth World’ Walter Benjamin 186 Francisco Godoy Vega Biographies 41 -
Formas E Expressões Da Comunicação Visual Em Portugal
FACULDADE DE ARQUITECTURA UNIVERSIDADE TÉCNICA DE LISBOA FORMAS E EXPRESSÕES DA COMUNICAÇÃO VISUAL EM PORTUGAL CONTRIBUTO PARA O ESTUDO DA CULTURA VISUAL DO SÉCULO XX, ATRAVÉS DAS PUBLICAÇÕES PERIÓDICAS ANA MARGARIDA DE BASTOS AMBRÓSIO PESSOA FRAGOSO ORIENTADOR PROFESSOR DOUTOR FERNANDO JOSÉ CARNEIRO MOREIRA DA SILVA CO-ORIENTADOR ARQUITECTO JOSÉ PEDRO ROQUE GAMEIRO MARTINS BARATA DISSERTAÇÃO APRESENTADA À FACULDADE DE ARQUITECTURA DA UNIVERSIDADE TÉCNICA DE LISBOA PARA OBTENÇAO DO GRAU DE DOUTOR EM DESIGN Apoio financeiro da FCT no âmbito do POCI 2010 – Formar e Qualificar FORMAS E EXPRESSÕES DA COMUNICAÇÃO VISUAL EM PORTUGAL, NO SÉCULO XX ii RESUMO E PALAVRAS CHAVE Resumo O processo histórico que contextualizou o século XX foi revelador de um sistema social em profunda e constante transformação. No domínio visual, as manifestações da evolução de um complexo cultural em permanente mutação divulgaram uma época de acontecimentos extremos que se exprimiu desde as formas estabilizadas do início do século às múltiplas e efémeras formas da comunicação visual da actualidade. Analisar e compreender as linhas de força da evolução da comunicação visual em Portugal no período considerado, detectando os factores de estabilidade e continuidade na evolução, os momentos e os agentes das mudanças e rupturas dessa evolução, foram as intenções iniciais deste estudo que decorreram da formulação da hipótese de que a expressão visual, sob todas as suas formas, é condicionada e configurada pelo enquadramento cultural, económico, político e técnico do paradigma