60 Years of the Calouste Gulbenkian Foundation
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Gweld Y Rhaglen Ar-Lein
JANUARY – APRIL 2020 MWLDAN IONAWR – EBRILL 2020 ABERTEIFI CARDIGAN SINEMA A CHANOLFAN CELFYDDYDAU CINEMA AND ARTS CENTRE mwldan.co.uk WELCOME TO MWLDAN CROESO I’R MWLDAN Dear Friends, We have also had an amazing year with our As we look back at the production and touring Agrippina, p10 incredible year that was work. We released a new 2019, we at Mwldan would album on our bendigedig like to send you our sincere label – AKA Trio’s JOY CONTENTS thanks for all the support came out in May, followed CYNNWYS you gave us throughout. by an extensive UK tour. From our best ever season Catrin Finch & Seckou Keita of events at Cardigan Castle won two BBC Radio 2 Folk LIVE EVENTS & season to the inaugural Awards for Best Group and BROADCAST EVENTS Other Voices Cardigan Musician Of The Year, and 4 SIOEAU BYW & DARLLEDIADAU BYW festival, it has been an we toured them to Canada, extraordinary experience, Belgium, Netherlands, but we couldn’t have done North Macedonia, France, SUMMER AT it without the support of Serbia, Scotland, Austria THE CASTLE you, our customers and and the Czech Republic. HAF YN Y CASTELL 25 community – whether you Catrin & Seckou also won are local or you travelled Best Album (Fusion) in MUSIC AT THE CASTLE from afar. the prestigious Songlines CERDDORIAETH YN We were moved beyond our Awards. 26 Y CASTELL imagination by the magic Quite a year, and now that you helped to make buckle up for 2020! CINEMA happen in our town, and we 28 SINEMA are looking forward to an Annwyl ffrindiau, even more exciting 2020. -
Calouste Gulbenkian's Long Path, from His Childhood in Istanbul to The
CALOUSTE GULBENKIAN PRIZE (2017-2021) Regulation 2017 edition INTRODUCTION Calouste Gulbenkian’s long path, from his childhood in Istanbul to the latter years of his life in Lisbon (emblematic cities at the eastern and western edges of Europe), shaped his personality and influenced the Foundation that he decided to create in Portugal as a Portuguese institution. A pioneer in the oil industry, a demanding art collector, a diplomat and philanthropist, Calouste Gulbenkian was a perfect example of the synthesis of the eastern culture of his birth and origins, and the western culture in which he was educated and lived. Other revealing features of his character were his great sensitivity towards the harmony of nature and a particular taste for admiring its beauty. The Calouste Gulbenkian Foundation, an international philanthropic institution, open to the world, seeks to support actions which contribute to the construction of a fairer and more solidary society, where equal opportunities and sustainability help to prepare the citizens of the future. The Calouste Gulbenkian Prize is given annually. It aims to pay tribute to the Founder, recognizing individuals or institutions that have distinguished themselves, due to their relevance and work in the area of Human Rights. FIRST Objective and Term 1. The Calouste Gulbenkian Prize aim to recognise an individual or a private non- profit legal person who have distinguished themselves internationally in the defence and implementation of Human Rights. In 2017, special attention will be given to refugee issues. SECOND Value The value of the Calouste Gulbenkian Prize will be 100,000 € (one hundred thousand euros). THIRD Decision Making Procedure 1. -
2015-07-31 PRIMEIRA.Indd
Jornal fundado em 1 de Outubro de 1925 ANO XC / Nº5080 SEXTA-FEIRA 31 JULHO DE 2015 PREÇO: 0,80€ ASSINATURA ANUAL: 22,50€ DIGITAL: 15€ www.gazetacaldas.com Director: José Luiz de Almeida Silva Director Adjunto: Carlos M. Marques Cipriano facebook.com/gazetacaldas Tel:262870050 / Fax: 262870058/59 [email protected] / [email protected] / [email protected] / [email protected] Assunção Cristas diz que Baixas de Óbidos Tony Carreira, Luís Represas, José Cid e Cuca Roseta na região terão rede de rega pronta em 2017 Grandes nomes do panorama mu- namento atrás dos Bombeiros, na sical português irão actuar na re- festa do Continente. A ministra da Agricultura e do Mar, rede de rega dos blocos de Óbidos e gião nas próximas duas semanas. No próximo fi m-de-semana, no Assunção Cristas, acredita que os da Amoreira (1185 hectares) e a rede O “desfi le” começa hoje no Oeste Festival do Vinho do Bombarral, 1200 hectares de rede de rega das viária. Fest, com as actuações de Agir actuam Luís Represas acompa- Baixas de Óbidos (ligada à barra- Os primeiros contactos de sensibiliza- e Carolina Deslandes na Foz do nhado pela West Europe Orchestra, gem do Arnóia) deverão estar con- ção aos produtores para a construção Arelho. HMB e Kataleya são os ou- José Cid & Big Band e Tiago cluídos em 2017. “Um prazo realis- da barragem do Arnóia começaram tros cabeças de cartaz do festival. Bettencourt. ta”, considera a governante para as em 1976. Foram precisos mais de 40 No domingo haverá um espectá- Em S. Martinho, Cuca Roseta ac- obras no valor de 28 milhões de eu- anos para que o maior investimento culo de Tony Carreira, que actua tua na próxima quinta-feira, 6 de ros e que compreendem a constru- público feito no concelho, se tornasse nas Caldas, no parque de estacio- Agosto. -
Oeiras Em Revista Janeiro 2016
AJUSTAR A LOMBADA 2016 INVERNO . WINTER 14 #1 EM REVISTA Oeiras em Revista Encetamos uma dança perfeita entre o que herdamos, o que já construímos e aquilo que planeamos construir. We begin a perfect dance between what we inherit, what we have already built and what we plan to build. € THE MOST BEAUTIFUL BALCONY ONTO THE TAGUS Propriedade do Município de Oeiras . Distribuição Gratuita Impressão 0,79 AJUSTAR A LOMBADA AJUSTAR À LOMBADA ÍNDICE INDEX 14 A DOIS 10 One-On-One MARINA FERREIRA A DESCOBRIR ‘A ÁGUA NÃO EXISTE PARA SE OLHAR, O PASSADO EXISTE PARA SE VIVER’ Discovering the past ‘The water is not there to be looked at; it is there to be lived’ SAIBA O QUE HÁ DEBAIXO DESTE RIO: DESCUBRA OS TESOUROS SUBMERSOS EM SÃO JULIÃO DA BARRA Learn what's underneath this river: DISCOVER THE UNDERWATER TREASURES OF SÃO JULIÃO DA BARRA 42 PROJETOS 45 DA AUTARQUIA PROJETOS PROJECTS OF THE MUNICIPALITY DA AUTARQUIA O JAMOR ESTÁ PROJECTS OF THE MUNICIPALITY A MUDAR PARA SI PASSEIO MARÍTIMO: THE Jamor is changing for you UMA VARANDA PARA O TEJO The Seaside Promenade: a balcony onto the Tagus 62 ENTRE NÓS Augusto Cid da Baleia”, pelo escultor Escultura “Mergulho Augusto Cid by the sculptor da Baleia” sculpture, “Mergulho Among Us “OEIRAS, A PORTA DOS OCEANOS” INTERVIEW WITH JOAQUIM BOIÇA OEIRAS, THE OCEANS’ GATEWAY Diretor . Diretor PAULO VISTAS Direção Executiva . Executive Directors ELISABETE BRIGADEIRO Editor . Editor CARLA ROCHA Textos . Texts CARLA ROCHA, SIGA-NOS NO FACEBOOK! LUÍS MARIA BAPTISTA, SÓNIA CORREIA, ANA HENRIQUES, CAROLINA SÁ DA BANDEIRA, FILIPA CUSTÓDIO, SANDRA CAÇOILA, CARLOS BELOTO, LUIS Facebook.com/municipiooeiras BATISTA FERNANDES, JOSÉ BETTENCOURT, CRISTÓVÃO FONSECA, INÊS PINTO COELHO, JORGE FREIRE, PATRICIA CARVALHO, TIAGO SILVA, JOÃO LUIS CARDOSO, ISABEL CAÇADOR, HENRIQUE CABRAL, JOSÉ PEDRO GRANADEIRO Fotografia . -
Ceramics in Portuguese Architecture (16Th-20Th Centuries)
CASTELLÓN (SPAIN) CERAMICS IN PORTUGUESE ARCHITECTURE (16TH-20TH CENTURIES) A. M. Portela, F. Queiroz Art Historians - Portugal [email protected] ABSTRACT The purpose of this paper is to present a synoptic view of the evolution of Portuguese architectural ceramics, particularly focusing on the 19th and 20th centuries, because the origins of current uses of ceramic tiles in Portuguese architecture stem from those periods. Thus, the paper begins with the background to the use of ceramics in Portuguese architecture, between the 16th and 18th centuries, through some duly illustrated paradigmatic examples. The study then presents examples of the 19th century, in a period of transition between art and industry, demonstrating the diversity and excellence of Portuguese production, as well as the identifying character of the phenomenon of façade tiling in the Portuguese urban image. The study concludes with a section on the causes of the decline in the use of ceramic materials in Portuguese architecture in the first decades of the 20th century, and the appropriation of ceramic tiling by the popular classes in their vernacular architecture. Parallel to this, the paper shows how the most erudite route for ceramic tilings lay in author works, often in public buildings and at the service of the nationalistic propaganda of the dictatorial regime. This section also explains how an industrial upgrading occurred that led to the closing of many of the most important Portuguese industrial units of ceramic products for architecture, foreshadowing the current ceramic tiling scenario in Portugal. 1 CASTELLÓN (SPAIN) 1. INTRODUCTION In Portugal, ornamental ceramics used in architecture are generally - and almost automatically - associated only with tiles, even though, depending on the historical period, one can enlarge considerably the approach, beyond this specific form of ceramic art. -
Celebrations
Celebrations Alentejo Portalegre Islamic Festival “Al Mossassa” Start Date: 2021-10-01 End Date: 2021-10-03 Website: https://www.facebook.com/AlMossassaMarvao/ Contacts: Vila de Marvão, Portalegre The historic town of Marvão, in Alto Alentejo, will go back in time to evoke the time of its foundation by the warrior Ibn Maruam, in the ninth century, with an Islamic festival. Historical recreations with costumed extras, an Arab market, artisans working live, a military camp with weapons exhibition, games for children, knights in gun duels, exotic music and dance, acrobats, fire- breathers, snake charmers , bird of prey tamers and circus arts are some of the attractions. Centro de Portugal Tomar Festa dos Tabuleiros (Festival of the Trays) Date to be announced. Website: http://www.tabuleiros.org Contacts: Tomar The Festival of the Trays takes place every four years; the next one will take place in July 2023. Do not miss this unique event! The blessing of the trays, the street decorations, the quilts in the windows and the throwing of flowers over the procession of the trays carried by hundreds of young girls on their heads, is an unforgettable sight. The Procession of the Tabuleiros, heralded by pipers and fireworks, is led by the Banner of the Holy Ghost and the three Crowns of the Emperors and Kings. They are followed by the Banners and Crowns from all the parishes, and the girls carrying the trays. In the rear are the cartloads of bread, meat and wine, pulled by the symbolic sacrificial oxen, with golden horns and sashes. The girls who carry the trays have to wear long white dresses with a coloured sash across the chest. -
“Calouste Gulbenkian (1869S1955)
The California State University, Fresno Armenian Studies Program and the Leon S. Peters Foundation present “CALOUSTE GULBENKIAN (1869-1955) AND THE ‘PASDURMA PROBLEM’” PRESENTED BY JONATHAN CONLIN, UNIV. OF SOUTHAMPTON Born into the Armenian merchant elite of Istanbul in 1869, the renowned oil magnate Calouste Gulbenkian made his fortune as a ‘business architect,’ persuading rival oil companies to collaborate for their mutual enrichment, particularly in the Middle East. The violent collapse of the Ottoman Empire, the Armenian Genocide and the attempt to establish a secure “Armenian National Home” at Versailles barely affected Gulbenkian, who appeared uninterested in being a “good Armenian.” His fellow Armenians nonetheless looked to him as benefector and leader of their diaspora. He was thus appointed to the presidency of the Armenian General Benevolent Union. This talk will consider the biographer’s challenges in addressing what Gulbenkian’s daughter dubbed “the pasdurma problem”: the question of how to situate oneself as a family which showed little interest either in being “good Armenians” or in as- similation. It argues that Gulbenkian’s cosmopolitanism reflected the “amira” class from which he hailed as much as it did that supranational world of multi-national oil companies whose emergence Gulbenkian did so much to foster. Born in New York, Jonathan Conlin studied history and modern languages at Oxford before undertaking gradu- ate degrees at the Courtauld Institute and Cambridge, where he was subsequently appointed a Fellow of Sidney Sussex College. Since 2006 he has taught history at the University of Southampton. His books include a history of the National Gallery (London), a comparative history of Paris and London and a biography of Adam Smith. -
Rafael Bordalo Pinheiro, a Portuguese Art Nouveau Artist Rita Nobre Peralta, Leonor Da Costa Pereira Loureiro, Alice Nogueira Alves
Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Rafael Bordalo Pinheiro, a portuguese Art Nouveau artist Rita Nobre Peralta, Leonor da Costa Pereira Loureiro, Alice Nogueira Alves Abstract The Art Nouveau gradual appearance in the Portuguese context it’s marked by the multidimensional artist Rafael Bordalo Pinheiro, and by his audacious affirmation as an avant- garde figure focused upon the industrial modernity, that is able to highlight some of the most original artistic solutions of his time. He manages to include in his production a touch of Portuguese Identity alongside with the new European trends of the late 19th century, combining traditional production techniques, themes and typologies, which are extended to artistic areas as varied as the press, the decorative arts and the decoration of cultural events. In this article, we pretend to analyse some of his proposals within Lisbon's civil architecture interior design and his participation in the Columbian Exhibition, held in Madrid in 1892, where he was a member of the Portuguese Legation, co-responsible for the selection and composition of the exhibition contents. Keywords: Art Nouveau, Cultural heritage, Portuguese identity, 19 th Century, interior and exterior design, Decorative arts, ceramics, tiles, furniture, Colombian Exposition of Madrid 1892 1 THE FIRST YEARS - PRESS, HUMOR AND AVANT-GARDE Rafael Augusto Prostes Bordalo Pinheiro (1846-1905) was born on March 21, 1846, in Lisbon, Portugal. His taste for art has always been boosted up by his father, Manuel Maria Bordalo Pinheiro who, together with his occupation as a civil servant, was also known as a painter and an external student of the Academy of Fine Arts of Lisbon. -
The Cost of Memorializing: Analyzing Armenian Genocide Memorials and Commemorations in the Republic of Armenia and in the Diaspora
INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 The Cost of Memorializing: Analyzing Armenian Genocide Memorials and Commemorations in the Republic of Armenia and in the Diaspora Sabrina Papazian HCM 7: 55–86 DOI: 10.18352/hcm.534 Abstract In April of 1965 thousands of Armenians gathered in Yerevan and Los Angeles, demanding global recognition of and remembrance for the Armenian Genocide after fifty years of silence. Since then, over 200 memorials have been built around the world commemorating the vic- tims of the Genocide and have been the centre of hundreds of marches, vigils and commemorative events. This article analyzes the visual forms and semiotic natures of three Armenian Genocide memorials in Armenia, France and the United States and the commemoration prac- tices that surround them to compare and contrast how the Genocide is being memorialized in different Armenian communities. In doing so, this article questions the long-term effects commemorations have on an overall transnational Armenian community. Ultimately, it appears that calls for Armenian Genocide recognition unwittingly categorize the global Armenian community as eternal victims, impeding the develop- ment of both the Republic of Armenia and the Armenian diaspora. Keywords: Armenian Genocide, commemoration, cultural heritage, diaspora, identity, memorials HCM 2019, VOL. 7 Downloaded from Brill.com10/05/202155 12:33:22PM via free access PAPAZIAN Introduction On 24 April 2015, the hundredth anniversary of the commencement of the Armenian Genocide, Armenians around the world collectively mourned for and remembered their ancestors who had lost their lives in the massacres and deportations of 1915.1 These commemorations took place in many forms, including marches, candlelight vigils, ceremo- nial speeches and cultural performances. -
2017 the 2017 Paris Biennial
THE 2017 PARIS BIENNIAL THE GRAND PALAIS FROM MONDAY, SEPTEMBER 11 THROUGH SUNDAY, SEPTEMBER 17 2017 THE PROGRAM PRESS RELEASE — PARIS, MAY 15, 2017 THE BIENNALE PARIS PRESS RELEASE — PARIS, MAY 15, 2017 2 THE 2017 PARIS BIENNIAL NEW DATES TO ADAPT TO THE ANNUALIZATION OF THE PARIS BIENNIAL The Paris Biennial will be held from Monday, September 11 to Sunday, September 17, 2017 Vernissage: Sunday, September 10, 2017 With the announcement of its annualization, The Paris Biennial confirms its commitment to renewal and development, adopting a shorter, more dynamic format, while offering two potential weekends to French and international collectors and professionals. A CULTURAL AND ARTISTIC BACK-TO-SCHOOL WEEK IN 2017 The Paris Biennial also wishes to support and encourage the development of a more compelling cultural and artistic program to accompany Back-to-School Week. Ultimately, it is the idea of a week of artistic excellence that is sought by collectors and professionals, thus making Paris, in mid-September of every year, the principal cultural destination on an international scale. Organized in conjunction with The 2017 Paris Biennial, there will be two major exhibitions initiated by the Marmottan Monet and the Jacquemart André Museums, the former presenting a first-of-its-kind exhibition on « Monet, Collector » and the second exhibiting a tribute to Impressionism With «The Impressionist Treasures of the Ordrupgaard Collection - Sisley, Cézanne, Monet, Renoir, Gauguin.» THE BIENNALE PARIS PRESS RELEASE — PARIS, MAY 15, 2017 3 THE PARIS BIENNIAL AND « CHANTILLY ARTS AND ELEGANCE: RICHARD MILLE » In this spirit, The 2017 Paris Biennial has initiated a partnership with « Chantilly Arts and Elegance Richard Mille » which will, on September 10, 2017, present the most world’s most beautiful historical and collectors’ cars, along with couturiers’ creations, automobile clubs and the French Art of Living, at the Domaine de Chantilly. -
Noitelonga Leshauts-Lieuxd’Unétéchaud
PORTUGAL2015 Guidedel’été Itinéraires Découvrez les régions du Portugal 4 Musique Les concerts de l’été 24 Summer Night Les discothè- ques de l’été 30 noitelonga leshauts-lieuxd’unétéchaud avec l’appui de : GRATUIT 1 www.capmagellan.sapo.pt 27 rue du 4 Septembre péra 75002 Paris 01 40 06 06 06 agence@fidelidade.fr Fidelidade - Companhia de Seguros, S.A. Siège : Largo do Calhariz, 30 1249-001 Lisboa - Portugal - NIPC e Matrícula 500 918 880, CRC Lisboa - Capital Social 381.150.000 € Succursale de France : 29, boulevard des Italiens - 75002 Paris - RCS Paris B 413 175 191 - Tél. 01 40 17 67 20 - Fax : 01 40 17 67 29 Crédits photo : Fotolia 20 15 6 29 45 Sommaire 04-14 : Itinéraires çasentl’été... 15-17 : Patrimoine culturel mmenez-moi au Pays des merveilles ! 18-19 : Musées Cayest.Lemoisd’Aoûtestsurlepas 20-23 : Gastronomie delaporteet,toutsourires,vousvous E 24-26 : Festivals apprêtez, tout comme moi, à boucler vos (toujours trop remplies) bagages pour rejoindre ceux des 27-29 : Concerts vôtresquisontrestésLàOùToutEstBeau,àveillersurles 30-31 : Discothèques montsetvalléesetrivièresetforêtsetrichessesettrésorsde 32-34 : Bars et Clubs vos étés ensoleillés. 36-39 : Plages Maispourprofiterdecesdoucessemainesdebonheur,ilnous 40-41 : Culture faudra d’abord parcourir, parfois péniblement c’est vrai, par terre, 42-46 : Tourisme actif et Sport par les airs et pour certains gris aventuriers, par train ou sur les 48-51 : Sécurité Routière flots, ces (toujours trop nombreux) kilomètres qui nous séparent duParadisquinousestsicher.Donc,àdéfautdepiloterl’aviou 52-53 : Incendies ;-)oulavoitoure,vousprendrezbiensoind’yarriverd’abord, 54-55 : Santé puisd’enrevenir,enpleineformeetentoutesécurité,n’étantpas 56-62 : Pratique non plus dispensés de nous offrir votre plus joli sourire en nous croisant aux frontières. -
Annual Report Covers the the Paths Open As I Hand Over the Baton to the Simo Lapucci and Àngel Font (Outgoing and Sometimes Play Out
european foundation centre annual review 2019 E F oundations F E urope C T ogether european Contents United in diversity, foreword by the EFC Chair 2 foundation centre 30 years of the EFC 4 annual review 2019 Learning from the expertise and experience embedded in the sector 6 Connecting people for inspiration and joint action 10 Representing Why an elephant philanthropy for favourable policy and regulatory environments 16 ‘If your organisation was an animal, what would it be and why?’ This question was recently posed to participants, including EFC staff, at an external meeting. This pre- Building sented a great opportunity for us to think about our attributes and try to find a the evidence base, serving members’ information needs 22 creature to match. While the EFC has the characteristics of many animals, we felt that the elephant was the best analogy to describe who we are. We didn’t choose the elephant because of its intelligence, collective memory, strength, ability to protect, deliberate actions, longevity, focus on relationships and Raising visibility affinities, capacity to both lead and work in a team, and its keen communi- of philanthropy’s value and impact 28 cations skills (although of course all of these are applicable to the EFC!). But rather because each part of the elephant’s body, in particular its unique trunk, enables it to achieve something special, and depending Last word from Gerry Salole 32 on your interaction with the EFC, you will experience a different part EFC events 2019 34 of the elephant, without necessarily knowing that as well as its trunk, it also has tusks, ears, legs, a tail, and a thick skin! EFC membership 2019 36 Perhaps you know the ancient Indian story of the six blind men About the EFC 39 of Indostan.