DOCSLIB.ORG

Figuras, Formas Y Volúmenes Fundación Francisco Narváez

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Figuras, Formas Y Volúmenes Fundación Francisco Narváez FIGURES, FORMS AND VOLUMES | FIGURAS, FORMAS Y VOLÚMENES FUNDACIÓN FRANCISCO NARVÁEZ The Francisco Narváez Foundation is a non-profit institution created in 1985 whose essential purpose is the preservation of the artist’s legacy through the assessment, compilation and documentation of all the information related to his life and work. As a part of this effort, it supports exhibitions, academic works, publications and educa- tional workshops based upon the organized corpus of documentation on the Master, which is readily made available to persons and institutions involved with the fine arts. From its inception the foundation is committed with the recovery, restoration and preservation of monuments and public works carried out by Narváez, and it has accordingly participated in important integral rescue proposals of public spaces in different locations of the Venezuelan territory. This labor is complemented with a significant development in the academic field which has been conveyed through strategic associations to other institutions’ personnel in response to the need to maintain, preserve and restore public monuments as well as privately-owned works of smaller dimensions. Ascaso Gallery and the Francisco Narváez Foundation have organized this anthologi- cal exhibition comprising an ample series of paintings and sculptures elaborated with diverse techniques and materials in different stages of the life of Francisco Narváez, undoubtedly one of Latin American most outstanding artists. LOBELIA BENÍTEZ DE Narváez 3 “Mommy, they’re naked!” The commentary was about Narváez’s Las Toninas grace- ful figures silhouetted against the exit of the tunnel of El Silencio. From the rear window of the car I turned around to see the fountain and the robust bodies of the mermaids riding on the dolphins. For me it was the beginning of the ride to Puerto Azul. As a child, I sometimes went with my mom to visit my granddaddy EBN, who back then was the official chronicler of the city of Caracas, at his studio, a small apartment with generous windows facing Narváez’s fountain at Parque Carabobo. This sculptural group formed by resting figures enhanced the park’s intimacy under the shadow of the mahoganies. My mom, a former pianist with music embedded in her bones, never missed a concerto at the newly-built Aula Magna of the Central University. We used to go with her. Daddy left us at the foot of Narváez’s La Cultura right in front of the Rector Square and proceeded to park his car further ahead. Ca- racas seemed to be full of Narváez: nearby stood El Atleta to the side of the Olympic Stadium, and there was also Rafael Urdaneta’s equestrian statue at La Candelaria square, and the figures on top of the neo-classical halls of the Fine Arts and Sciences silver fish, and wood-carved colossal mulatto girls and hieratic faces rising under museums which we visited on Sundays. plantain clusters, and Negro women passing by as witnesses of a people which symbolically had started to march forward. In those days, Francisco Narváez’s atelier Narváez’s opera prima is of course inspired by the academic art promoted from the was the home of the highest Venezuelan hopes. Neither before nor after have I seen Parisian Julian Academy where he studied by the late 1920s. He soon returned to anything comparable.” Venezuela and spent decades fostering the ideals of a new society, visually character- ized by the exaltation of the human body and a sort of allegoric art with didactic pur- Reading those words from the distance, Narváez appears as pioneering a nation poses which idealized Education, Science, Culture and Sports, inviting to transcend which we hope has not yet been lost amidst today’s ravings. With the present artistic individuality and fully participate in the social corpus. His auspicious cooperation initiative, the artist’s family and Ascaso Art Gallery as their representative introduce with Carlos Raúl Villanueva gave him the opportunity to work on the ornamentation a new cycle aimed at reviving public interest for a work lovingly dedicated to the of buildings and large-scale public works. Narváez’s monumental oeuvres were car- Venezuelan family. Perhaps Narváez’s main concern was to articulate a visual system ried out in the atelier, with the majestic spirit and poses of classical art, but proudly meant to develop the idea of progress in a perfectible society, peacefully, according displaying the features and fibrous bodies of a mixed race. The acknowledgment and to the tenets of the modernist Utopia. Reviewing his work we feel the warmth of exaltation of this segment of Venezuelan population signaled the prompt incorpora- Venezuela’s profound body being recovered and repossessed. tion of popular masses to the social processes taking place after the death of Juan Vicente Gómez. We salute the publication of this beautiful book which reveals an unceasingly current character. The moment is right to submit Francisco Narváez’s aesthetic values and With his usual accuracy, Arturo Uslar Pietri thus described what was going on in the national ideal to the evaluation of a new generation of Venezuelans. artist’s tiny workshop in Catia: “For many young people schooled within the limita- tions and scarcities of the time and the prevalent political situation, this remote place was a sort of revelation. In there, everything could be said and taken apart. AXEL STEIN Las Toninas fountain, O’Leary Square, On the walls you could see Narváez’s brown-skinned Margarita women and their El Silencio, Caracas, c. 1945 New York, 2 May 2015 4 5 FUNDACIÓN FRANCISCO NARVÁEZ La Fundación Francisco Narváez es una institución sin fines de lucro creada en 1985 con el objetivo esencial de preservar el legado de este artista mediante la investiga- ción, el registro y la documentación de toda la información que pueda aportar testi- monio de su vida y obra. Como parte de esta labor, apoya exposiciones, trabajos aca- démicos, publicaciones y talleres de aprendizaje que tengan como base fundamental la documentación organizada en relación con el maestro, la cual pone a disposición de personas y entidades involucradas en las artes plásticas. Desde sus inicios la Fundación está seriamente comprometida con la recuperación, restauración y conservación de los monumentos y obras de intervención urbana eje- cutados por Narváez, y en este sentido ha trabajado en importantes propuestas de rescate integral de espacios públicos en diversas localidades del territorio venezola- no. Complementa este desempeño mediante un desarrollo significativo en el campo académico, formándose y formando personal adscrito a otras instituciones a través de asociaciones estratégicas para cubrir la necesidad de mantener, conservar y res- taurar tanto los monumentos públicos como las obras de pequeño formato pertene- cientes a colecciones privadas. Ascaso Gallery y la Fundación Francisco Narváez realizan esta exposición antológica conformada por una nutrida serie de pinturas y esculturas elaboradas con diversas técnicas, materiales y en distintas etapas de la vida de Francisco Narváez, sin duda alguna uno de los creadores más destacados y relevantes de Latinoamérica. LOBELIA BENÍTEZ DE Narváez 6 7 «¡Mamá, están desnudas!» Eso era con las graciosas figuras de Las Toninas de Nar- váez, que se dibujaban en la luz saliendo del túnel de las Torres del Silencio. Desde la ventana trasera volteaba para ver los cuerpos robustos de las sirenas cabalgando sobre los delfines en la fuente. Allí empezaba el camino a Puerto Azul. En mi niñez, a veces acompañaba a mamá a visitar a mi abuelo EBN, por aquel entonces Cronista de la ciudad de Caracas, al estudio que mantenía en un pequeño apartamento con generosos ventanales que daban a la fuente de Narváez en el Parque Carabobo. Este grupo escultórico de figuras en reposo adornaba la intimidad del parque bajo la som- bra de los caobos. Habiendo sido pianista y con médula musical, no había concierto que mamá se «pelara» en el Aula Magna recién construida. Nosotros la acompañá- bamos. Papá nos dejaba al pie de La Cultura de Narváez que engalana el frente de la Plaza del Rectorado antes de seguir a estacionar. Caracas parecía ser de Narváez: ahí estaba El Atleta frente al Estadio universitario, el Rafael Urdaneta ecuestre en la taban colosales mulatas bajo racimos de plátanos y rostros hieráticos y transitados Plaza La Candelaria y las figuras en lo alto del recibo neoclásico del Museo de Bellas de negras, como los testigos y los adelantados de un pueblo que había comenzado Artes y de Ciencias que visitábamos los domingos de inauguración. simbólicamente a ponerse en marcha. En aquellos años el taller de Francisco Narváez fue el hogar de la mejor esperanza venezolana. Ni antes, ni después, se encuentra La ópera prima de Narváez se inspira, como es natural, en el arte académico que nada semejante». se promovía desde la Academia Julian donde estudió en París al final de los años veinte. Narváez pronto regresa al país y se afanaría durante décadas en promover Escribiendo estas palabras desde la distancia, se nos hace Narváez un cultor del país los ideales de una sociedad nueva cuyas referencias visuales serían la exaltación del que no queremos pensar perdido en el desvarío actual. Con esta iniciativa editorial, cuerpo humano y un arte alegórico de carácter formativo —la educación, la ciencia, la familia del artista y la Galería de Arte Ascaso, que en esta ocasión la representa, la cultura, el deporte—, es decir una invitación a la superación personal para un se propicia un nuevo ciclo de interés público hacia una obra cariñosamente dedicada mejor participar en el cuerpo social. Su feliz colaboración con Carlos Raúl Villanueva a la familia venezolana. Quizás la principal preocupación que tuvo Narváez fue la de le brindó la oportunidad de ornamentar sus edificios y trabajar con él en obras de articular un sistema visual que apuntalara las ideas de progreso para una sociedad carácter público.
Load more

Recommended publications
  • Villanueva, Os Passeios Cobertos E a Idéia De Cidade
    VILLANUEva, OS paSSEIOS COBERTOS E A IDÉIA DE CIDADE VILLANUEVA, THE COVERED WALKS AND THE IDEA OF CITY Rodrigo Pérez de Arce Tradução espanhol-português: Rogério de Castro Oliveira Translation spanish-english: Carlos Eduardo Comas TEXTO 12 ARQ Procissão matrimonial. Florença. Século XV. Fonte: RUDOFSKY, Bernard. Streets For People. New York: Anchor Press Doubleday Garden City, 1969. Matrimonial procession. Florence. 15th Century. Source: RUDOFSKY, Bernard. Streets for People. New York: Anchor Press Doubleday Garden City, 1969. 132 É raro, sem dúvida, achar obras prototípicas como a Surely it is rare to find protypes of work like the University Cidade Universitária de Caracas, em que o período de de- City of Caracas, in which the period of development and senvolvimento e construção do projeto praticamente coincide construction of the project practically coincides with the entire TEXTO 12 com toda a vida profissional de seu autor. O Cemitério do professional life of its author. The Woodland Cemetery rea- Bosque, realizado por Asplund e Lewerentz entre 1914 e lized by Asplund and Lewerentz between 1914 and 1940 ARQ 1940, é um dos poucos exemplos deste tipo de situação, is one of the few examples of this type of situation, similar in similar, neste aspecto, ao projeto de Villanueva. Ambos os this aspect to the Villanueva project. Both schemes matured esquemas amadureceram lentamente, enquanto incorporavam slowly whilst they embodied the cultural dilemmas associated os dilemas culturais associados com a passagem da academia with the passage from the academy to modernity. Around à modernidade. À volta dos dois casos, diferentes autores both cases, different authors have argued how the respective discutiram sobre como os respectivos arquitetos conduziram a architects carried out the transit of their projects to the Modern transição de seus projetos para o idioma moderno a partir de idiom from historicist or academic original attempts.
    [Show full text]
  • Vida Y Obra De Carlos Raúl Villanueva Astoul
    UCV VALORES VIDA Y OBRA DE CARLOS RAÚL VILLANUEVA ASTOUL Foto © Alfred Brandler © Fundación Villanueva Juan Pérez Hernández Universidad Central de Venezuela. Caracas, diciembre 2017 0 UCV VALORES VIDA Y OBRA DE CARLOS RAÚL VILLANUEVA ASTOUL Juan Pérez H e r n á n d e z 1 UCV VALORES UNIVERSIDAD CENTRAL DE VENEZUELA (UCV) Dra. Cecilia García-Arocha Márquez Rectora Dr. Nicolás Bianco Colmenares Vicerrector Académico Dr. Bernardo Méndez Acosta Vicerrector Administrativo Dr. Amalio Belmonte Guzmán Secretario VICERRECTORADO ACADÉMICO (VRAC) Dra. Inírida Rodríguez Coordinadora del Vicerrectorado Académico DIRECCIÓN DE TECNOLOGÍA DE INFORMACIÓN Y COMUNICACIONES (DTIC) Lic. Delisa De Guglielmo Directora Lic. Adriana Rosal Sub - Directora Lic. Patricia D’Alessandro Jefe de División de Integración de Sistemas Lic. Antonio Machado Analista de Sistemas Lic. Gustavo Paredes Analista de Sistemas Lic. Lisbeth Burgos CONSEJO DE PRESERVACIÓN Y DESARROLLO (COPRED) Arq. Aglais Palau Ontiveros Directora Dr. Juan Pérez Hernández Conservador de Obras de Arte (Jefe) FUNDACIÓN VILLANUEVA (FV) Arq. Paulina Villanueva Directora Cecilia Castrillo Secretaria General 2 INDICE CARLOS RAÚL VILLANUEVA ASTOUL. (30 de Mayo de 1900, Londres, Inglaterra - 16 de agosto de 1975, Caracas, Venezuela) 5 Bibliografía seleccionada. 46 Fuentes de Información Electrónica. 48 Agradecimientos. 49 3 VIDA Y OBRA DE CARLOS RAÚL VILLANUEVA ASTOUL Carlos Raúl Villanueva, en el estudio de su Casa “Caoma”, ubicada en la urbanización La Florida, Caracas, Venezuela Foto © Paolo Gasparini © Fundación Villanueva. Caracas, Venezuela 4 CARLOS RAÚL VILLANUEVA ASTOUL. (30 de Mayo de 1900, Londres, Inglaterra - 16 de agosto de 1975, Caracas, Venezuela) Carlos Raúl Villanueva Astoul, nace el 30 de Mayo de 1900, en Londres, Inglaterra.
    [Show full text]
  • Caracas (Venezuela) in Terms of the Categories of Cultural Property Set out in Article 1 of the 1972 World Heritage Convention, This Is a Group of Buildings
    Category of property Caracas (Venezuela) In terms of the categories of cultural property set out in Article 1 of the 1972 World Heritage Convention, this is a group of buildings. No 986 History and Description History The origin of the Central University of Venezuela is in the Identification foundation of the Royal and Pontifical University by a decree of Philip V in 1721, promulgated during the Spanish Nomination Ciudad Universitaria de Caracas colonial period. It operated in the Santa Rosa Seminary, located in the main square of the city of Caracas, today the Location Municipality of Libertador, Caracas Plaza Bolívar. In 1827 Simón Bolívar promulgated the new Republican Statutes for the University, and in 1856 it State Party Republic of Venezuela became independent of the Seminary and was transferred to the former San Francisco Convent, two blocks south-west of Date 29 July 1999 the Plaza Bolívar. The University soon started growing and occupied other buildings outside the convent. The dispersion caused problems to the work and it was thus decided to concentrate the university in a new enclosure, a campus in the outskirts of Caracas. The new university demanded a Justification by State Party modernization of the institution, in order to correspond with The Ciudad Universitaria de Caracas, created by the the new requirements of the time. Venezuelan architect Carlos Raúl Villanueva, is an example In 1942 the studies for the new university campus began, of outstanding quality representing the highest ideals and focusing first on the faculty of medicine and the clinical concepts of modern city planning, architecture, and art.
    [Show full text]
  • Amphion. De La Antigua Grecia a Venezuela. Listado De
    pg.93-96 ENSAYO DE PORTADA AMPHION DE LA ANTIGUA GRECIA A VENEZUELA LISTADO DE OBRAS EN LA PLAZA CUBIERTA Y ADYACENCIAS Arq. Brithney Morales J. Universidad Central de Venezuela [email protected] Recepción: 06 de diciembre del 2018 La Plaza Cubierta tiene numerosos accesos, uno de ellos se da por medio de Tierra de Nadie (gráfico 1), una extensión de área vegetal que cubre desde la Biblioteca Central hasta el Edificio N° 1 (Instituto de Investigaciones Rodolfo Quintero). Al subir la colina se descubre un Gráfico 1. Acceso a La Plaza Cubierta por Tierra de espacio que fusiona el arte y la arquitectura, “un bosque Nadie. de delgadas columnas que sostiene un ligero techo de Fuente: S/A (2017) concreto” (Dembo, 2006); el cual se concibe como un espacio integrador entre diferentes edificios ubicados a lo largo de su recorrido, el Rectorado, el Aula Magna, la Sala de Conciertos, la Biblioteca Central, entre otros. En una de sus áreas descubiertas se encuentra el Gráfico 2. Henri Laurens en su taller. Amphion (o L’Amphion) de Henri Laurens (1885-1954) Fuente: iamvenezuela.com (gráfico 2), ubicado frente al bimural de Fernand Léger (gráfico 3) (Ver Anexo-Listado de Obras en la Plaza Cubierta y Adyacencias, E-1). El Amphion mide tres metros de alto y se posa sobre una base de piedra de un metro de alto, (gráfico 4), ambos se alzan como un punto focal dentro de la composición de Villanueva. Gráfico 3. Amphion frente al bimural de Mateo Manaure. Fuente: COPRED-LB (S/F) 93 Vol 03 - N° 02 - Diciembre 2018 - Edición Semestral Depósito Legal N° DC2017000305/ISSN: 2542-3142 AMPHION.
    [Show full text]
  • La Universidad Central De Venezuela Como Patrimonio Cultural De La Humanidad
    La Universidad Central de Venezuela como patrimonio cultural de la humanidad. Espacios que Comunican Arte. Lic. Ramón Alí Mogollón T. Universidad de Los Ándes, Venezuela. MIRADA, FUNCIONALIDAD Y COMUNICACIÓN Propiciar una mirada sensible a la Universidad Central de Venezuela, y tratar de nutrirnos de ella a través de sus ambientes, de su arte, cotidianidad, rituales y muchedumbre, es una de las ambiciones de este compromiso. Develar ese rostro marginado, menos conocido, esencia pilar de su naturaleza misma como ciudad-museo, es un deber ante una obra que a pesar de su maestría, es mirada insistentemente desde el exterior. Sensibilizarse ante ella implica conocimiento, intimidad, una aproximación subjetiva sin titubeos... la UCV está hecha no sólo de concreto, en conjunto es una compilación de gestos y miradas, de lunas y soles, de mujeres y de hombres, energía y sensibilidad, pero sobre todo de lunas... creada para brindarle a la humanidad espacios placenteros. La Ciudad Universitaria de Caracas es ante todo una ruta imaginaria, un espacio amable que consigue escabullirse ante la mirada estricta de la acera cubierta... es un camino desdoblado para que el recién llegado se impresione ante la monumentalidad de sus edificios y, se conmueva ante el aura de sus obras artísticas, pero particularmente es un lugar para sensibilizar a sus permanentes invitados. Conocer la UCV es caminarla, perderse, desesperarse ante el verdugo del tiempo que nunca espera. Es saber desde dónde podemos tener una mejor vista de uno u otro mural, o sencillamente reconocer en qué lugar se puede comer mejor y más barato. La Ciudad Universitaria es una ciudad amable, pensada y creada para potenciar la sensibilidad de quienes la recorren, impregnada de valores estéticos que insistentemente se vuelven comunicacionales porque nos trasmiten energía, sensibilidad y sugerencia llegando a emocionarnos en tal sentido, que en el trayecto universitario, el sujeto observador absorbe la estética de su arquitectura, pues sus monumentales espacios y obras de arte le comunican placer.
    [Show full text]
  • Untitled, 1962 207
    ABSTRACT This dissertation interrogates how the Caracas-based collective El Techo de la Ballena (active 1961−69) vacillated between the sociopolitical concerns that provided the basis for its proposals and the wide array of mainstream tendencies that informed its anti- aesthetic stances. El Techo dialogued with a variety of global currents in a multifaceted practice that encroached upon the realms of the aesthetic, the political, and the literary. In spite of evident convergences with au courant tendencies in these spheres, a fundamental retrograde stance anchored the proposals of these radicalized writers, artists, poets, and art critics. As I argue, their compulsion to return to the past reflected an aversion towards a critical Cold War moment marred in Venezuela by several key factors: a far from peaceful transition to democracy during the government of Rómulo Betancourt, a rapid physical transformation fueled by increasing oil revenue, persistent underdevelopment, and a less than equitable distribution of wealth. In Part I, I establish the socioeconomic and cultural conditions upon which El Techo based its multidisciplinary interventions. Two chapters investigate the critical issue of the Venezuelan petro-state at midcentury: the unbalance between a rapid officially- sanctioned socioeconomic development and the slower agricultural temporalities that continued to determine the rhythms of vast sectors of the population. I contend that the collective responded to the problems unleashed by a national economy built on petroleum and the parallel development of a fad aesthetic, Informalism, which emerged from the cultural excesses of that unstable developmentalist model. I organize Part II around three case studies that closely examine El Techo’s deliberate inversion of an internationally aligned modernity that hinged on the need for constant evolution and progress in the visual arts.
    [Show full text]
  • South America: the Top End Overview
    SOUTH AMERICA: THE TOP END OVERVIEW Tour Date: 2 November 2018 – 4 December 2018 Tour Duration: 33 days Tour Cost ($AUD): $22,750 Single Supplement ($AUD): $3,990 ‘The Top End’ is Travel Directors most daring traverse into South America. Little visited, this journey offers utterly pristine jungles, abundance of wildlife, the world’s highest waterfall and the rich culture of Colombia, a country that has emerged into a new and exciting era, and is waiting to be discovered. This tour, which is a scenic wonderland, will have great appeal for the wildlife enthusiast, but at the same time enriching our travelers with a tapestry of cultural wealth. French Guyana is the starting point of the tour and in its capital city, Cayenne we experience France and the Caribbean meeting exotic South America. Here we visit France’s Ariane Space Centre, an incongruous hi-tech satellite complex surrounded by jungle. We the cross into the Dutch colony of Suriname where we explore remote villages that still cling to their African roots. We then reach Guyana, a country which arguably possesses the most pristine rainforest in the world and the greatest abundance of wildlife in South America. Travelling onto Caracas, we learn of the extraordinary hero, Simon Bolivar before heading south to one of the dazzling jewels on Earth – Angel Falls. From Venezuela we travel to Colombia, a country that has emerged from a violent past into one of the most staggering destinations in Latin America. Here we discover the previously impenetrable colonial wonders of Salento, Medellin and Cartagena. From French Guyana to Colombia, ‘The Top End’ is a stunning adventure across South America’s north face.
    [Show full text]
  • Se Respeta RESPECT Venezuela
    VENEZUELA SE respetA RESPECT VENEZUELA Ministerio del Poder Popular APRIL 2014 para la Comunicación y la Información VENEZUELA SE respetA RESPECT VENEZUELA 2 3 RESPECT VENEZUELA Descargue nuestras publicaciones en: www.minci.gob.ve Respect Venezuela Democracy is threatened The passing away of Venezuelan President Co- During the second half of 2013, unscrupulous Nicolás Maduro Moros mandante Hugo Rafael Chávez Frías - the top businessmen, traders, and shopkeepers lead by President of the Bolivarian Republic of Venezuela leader of the Bolivarian Revolution- on March the trade-oriented Fedecámaras (Federation of Delcy Rodríguez 5 2013 was perceived by Venezuelan people Chambers and Trade and Production Associa- Minister of People’s Power for Communication and Information as an irreparable loss, one of historical dimen- tions of Venezuela), counting on the active par- sions. During 14 years, President Chávez led ticipation of Consecomercio (National Council Venezuela along a victorious political process of Commerce), and Venamcham (The Venezu- Rolando Corao that pursued the recovery of the nation’s dig- elan-American Chamber of industry and Com- Vice-Minister for Communication and Information nity and the construction of social justice. The merce), carried out a series of indiscriminate William Castillo affectionate warrior who with his accurate price increases in all segments of the economy, Vice-Minister for Television words guided Venezuelans through the tran- reaching in some cases up to 2,000 percent of Francisco Pérez Santana sition between two centuries, and despite big increase; they also proceeded to stock up es- Vice-Minister for Radio obstacles was able to take society to an upper sential goods.
    [Show full text]
  • Ciudad Universitaria De C
    Intervención. Estudios Reconocimiento y tutela de un Patrimonio del Movimiento Moderno del Siglo XX - Ciudad Universitaria de Caracas – Patrimonio Mundial Recognition and protection of a Twentieth century´s Modern Movement Heritage – Caracas’ City University- World Heritage Juan Pérez Hernández Profesor Especialidad: Arte, Mención Artes Plásticas. Universidad Pedagógica Experimental Libertador. Caracas. Venezuela. Resumen Se aborda el estudio del Reconocimiento y Tutela de un Patrimonio del Movimiento Moderno del Siglo XX, como es el caso de la Ciudad Universitaria de Caracas, sede principal de la Universidad Central de Venezuela, la cual ostenta el reconocimiento de Monumento Histórico Nacional en 1994, declaración que ratificó en 1998, y con su incorporación en el año 2000 en la Lista del Patrimonio Mundial de la UNESCO. Nuestro propósito es contribuir a la preservación integral de este legado cultural y dar a conocer una parte de su historia, tomando en consideración los eventos históricos que le condujeron a su valoración, protección y a conquistar la condición de Patrimonio Mundial. Palabras clave: Patrimonio Histórico. Ciudad Universitaria de Caracas. Síntesis de las Artes. Universidad Central de Venezuela. Arquitecto Carlos Raúl Villanueva. Patrimonio del Movimiento Moderno. Siglo XX. Abstract The study addresses the recognition and protection of a twentieth century´s modern movement heritage, as is the case of Caracas’ City University, headquarters of the Venezuela’s Central University, which boasted the National Historic Monument recognition in 1994, ratifying this statement in 1998, and finally in 2000, when it was incorporated into the UNESCO World Heritage List. Our purpose is contributing to the preservation of this cultural legacy and to publicize some of its history, taking into consideration the historical events that led it to its assessment and protection, and finally to its achievement of a World Heritage listed property’s status.
    [Show full text]
  • International Circulating Exhibitions
    Internationally Circulating Exhibitions This list details exhibitions shown outside of the United States and Canada, including U.S. Representations sent to recurrent international exhibitions, festivals, and special events. All exhibitions were organized by The Museum of Modern Art and, since 1953, have toured with support from The International Council. Exhibitions are listed by the year of their first international showing. Although The Museum of Modern Art sent its first exhibition abroad in 1938, this selection begins with the year 1952, when the International Program was formed and assumed responsibility for the international circulation of exhibitions. 1952 U.S. SELECTIONS FOR BERLIN TRADE FAIR, 1952 A group of well-designed American household objects, assembled for the Mutual Security Agency, which organized and circulated the exhibition. Shown: GERMANY, Berlin, Industrial Trade Fair, Sep 19-Nov 2, 1952; Stuttgart, Landesgewerbemuseum (Int'l Fair), Dec 13, 1952-Jan 11, 1953; Hanover, Industrial Fair, Mar 1-8, 1953; Hamburg, Int'l Horticultural Exhibition, Jun 20-July 12, 1953; AUSTRIA, Vienna, Kunstlerhaus, Aug 30-Oct 18, 1953; FRANCE, Paris, Grands Palais, Salon des Arts Menagers, Feb 25-Mar 21, 1954; ITALY, Milan, Milan Trade Fair, April 12-28, 1954; Dispersed 1954. YOUNG AMERICAN PRINTMAKERS U.S. Representation: Internationale Graphik, 1952. (48 prints by 40 artists) Selected by William S. Lieberman. Circulated in Austria by Galerie Kunst der Gegenwart; circulated in Germany by U.S. High Commission for Germany. Shown: AUSTRIA, Salzburg, Galerie Kunst der Gegenwart, Jul 27-Aug 31, 1952; Linz, Neue Galerie, Sep-Oct 12; Vienna, Secession Galerie, Oct 18-Nov 15; Graz, Neue Galerie, Dec; GERMANY, Munich, Amerika Haus, Jan-Feb, 1953; Berlin, Amerika Haus, Mar.
    [Show full text]
  • Una Revisión De La Teoría De Los Patrones En El Concepto Y La Forma Arquitectónica
    UNIVERSIDADE DO PORTO FACULDADE DE ARQUITECTURA DA UNVERSIDADE DO PORTO Programa de Doutoramento em Arquitectura. Perfil de estudo A. Projecto Do Espaço Habitacional e Formas De Habitar. Una revisión de la Teoría de los patrones en el concepto y la forma arquitectónica. La construcción de un lenguaje de la residencia universitaria. Leydi Fabiana Zambrano Flores (Arquitecta) Orientadora: Prof. Dra. Maria Teresa Fonseca Co-orientador: Prof. Dr. Pablo Campos Tesis para la obtención del Grado de Doctora en Arquitectura 2018 / 2019 Una revisión de la teoría de los patrones en el concepto y la forma arquitectónica. La construcción de un lenguaje de la residencia universitaria. RESUMO Este trabalho trata a espacialidade da residência universitária estudantil sob os pontos de vista de conceito e de forma. O conceito procederá do estudo da Teoria da linguagem dos padrões (a pattern language) (1980) de Chistopher Alexander e a sua forma no estudo da residência do caso da Universidade de Oregon. A intenção é redescobrir como, através da residência, se cria a relação inexorável nos contextos da arquitectura, entre cidade e universidade numa aliança histórica e atual. Portanto observar-se-ão estas três escalas – de cidade, universidade e residência- em diversos casos de estudo onde também se evidenciará o reflexo de um conceito e uma forma num tempo específico, permitindo assim a revisão das suas próprias linguagens. Na primeira parte do trabalho, desenvolve-se o tema que conduzirá a tese. Na segunda parte se apresentará uma visão histórica da relação constante e iminente da residência no planeamento universitário e urbano. Numa terceira instância apresenta-se o estudo da residência como ilustração da espacialidade universitária e da cidade, sob esta visão analisa-se o ser que a habita e as relações que se desenvolvem sob o trinómio cidade, universidade e residência.
    [Show full text]
  • Memoria 2015
    REPÚBLICA BOLIVARIANA DE VENEZUELA MINISTERIO DEL PODER POPULAR PARA LA CULTURA MEMORIA 2015 Caracas, 2016 MINISTERIO DEL PODER POPULAR PARA LA CULTURA. DESPACHO DEL MINISTRO. OFICINA DE PLANIFICACIÓN Y PRESUPUESTO. Av. Panteón, Foro Libertador. Edificio Archivo General de la Nación, PB. Código Postal 1010. Caracas-Venezuela. Telf. (0212) 509.55.11 / (0212) 509.55.81 / (0212) 509.55.82 http://www.mincultura.gob.ve Catalogación en Publicación: Memoria y Cuenta 2015. Volumen I Número de Depósito Legal: PPO200505CS532 ISSN 1856-4062 MEMORIA 2015 REPÚBLICA BOLIVARIANA DE VENEZUELA MINISTERIO DEL PODER POPULAR PARA LA CULTURA DIRECTORIO 2015 MINISTERIO DEL PODER POPULAR PARA LA CULTURA Freddy Ñañez Contreras Ministro del Poder Popular para la Cultura Aracelis García Reyes Giordana Cristina García Viceministra de Fomento de la Viceministra de Cultura Economía Cultural Joan Bernet Biscochea Viceministro(a) de Identidad y Directora General del Despacho del Diversidad Cultural Ministro Raquel Ysolina Marcano José Benito García Directora General (E) de la Oficina Director General (E) de la Oficina de de Planificación y Presupuesto Gestión Humana Taroa Zuñiga Irma Ruiz Directora General (E) de la Oficina Directora General de la Oficina de Estratégica de Seguimiento y Gestión Administrativa Evaluación de Políticas Públicas Domingo Marzoa Ana Carolina Reyes Consultor Jurídico Auditora Interna (E) Rosanna Emperatriz Marín Maureen Riveros Directora General (E) de la Oficina Directora de la Oficina de Gestión de Integración y Asuntos Comunicacional Internacionales
    [Show full text]