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Producción Instituto Camões | Presidência Ana Paula Laborinho

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Producción Instituto Camões | Presidência Ana Paula Laborinho AzuLeJo PortuguÉs Diálogos Contemporáneos Producción Instituto Camões | Presidência Ana Paula Laborinho | Dinah Azevedo Neves · Coordinación General Instituto Camões Alexandra Pinho | Joaquim Caparica · Coordinación Científica Museu National do Azulejo Maria Antónia Pinto de Matos | Alexandre Nobre Pais · Coordinación Editorial Joaquim Caparica | Alexandra Curvelo | Constança Azevedo e Lima · Diseño Gráfico Atelier/Estudio Nuno Vale Cardoso | Nina Barreiros AzuLeJo PortuguÉs Diálogos Contemporáneos La exposición Azulejo Portugués: Diálogos Contem- con una renovación del concepto de artista que que cuenta con la mayor colección de azulejos del poráneos se planteó a raíz de la estrecha colabora- abre caminos cada vez más ricos y diversificados. Mundo y desempeña un papel insustituible en la ción entre el Instituto Camões y el Museu Nacional Por medio de este viaje a través del azulejo recogida, investigación, conservación y divulga- do Azulejo, con el fin de divulgar el azulejo, elemento contemporáneo evocamos sus orígenes islámicos, ción de ejemplares representativos del patrimonio diferenciador de la cultura nacional portuguesa en presentes en su denominación, técnicas y deco- azulejero y de la cerámica tridimensional. el contexto universal de la creación artística. Soporte ración, las influencias italo-flamencas, españolas, La elección del Instituto Camões, en su deseo de vítreo de gran efecto decorativo y lumínico, refleja orientales y holandesas. Al mismo tiempo, valo- divulgar la cultura portuguesa a través de una de el encuentro de culturas y civilizaciones que superan ramos la producción de los centros industriales sus más representativas expresiones artísticas – el el espacio geográfico de Portugal – y también de portugueses a partir de finales del siglo XVIII, la azulejo – con especial enfoque en la creación europa – incorporando las novedades traídas de producción artística de autor, las fuentes icono- contemporánea, nos permite comprender de qué oriente y del Brasil. gráficas, la problemática del encargo, las diferentes modo este arte se renueva y mantiene vivo, en el contexto del arte contemporáneo, el azulejo aplicaciones y los distintos lenguajes que este marcando no sólo la entidad urbana de pueblos y reinterpreta cinco siglos de historia a través de revestimiento asumió en Portugal. ciudades sino incluso el propio paisaje portugués. técnicas ancestrales así como de la innovación y La divulgación del azulejo es uno de los princi- Maria Antónia Pinto de Matos actualización de los lenguajes en paneles de autor, pales objetivos del Museu Nacional do Azulejo, Directora del Museu Nacional do Azulejo Producción Instituto Camões | Presidencia Ana Paula Laborinho |Dinah Azevedo Neves Coordinación General Instituto Camões Alexandra Pinho | Joaquim Caparica Coordinación Científica Museu National do Azulejo Maria Antónia Pinto de Matos | Alexandre Nobre Pais Coordinación Editorial Joaquim Caparica | Alexandra Curvelo | Constança Azevedo Lima Textos Alexandra Curvelo | Alexandre Nobre Pais Constança Azevedo Lima | João Pedro Monteiro Maria de Lurdes esteves Design Gráfico Atelier/Estudio Nuno Vale Cardoso | Nina Barreiros Fotografía Ana Almeida Alexandra Curvelo AHePAL – Archivo Histórico de la ePAL, SA. Biblioteca de Arte de la Fundación Calouste Gulbenkian Carlos Lousada Célio Agostinho Cintra & Castro Caldas Dias dos Reis Filipe Branquinho Fundación Ricardo espírito Santo Silva Hayato ebhiara José Carlos Nascimento Manuela Cristóvão Metro de oporto Neno Vianna Nuno Vale Cardoso Taller del Castillo Sección de Documentación Gráfica del Instituto de Museus e da Conservação Teresa Saporiti Traducción Maria Tecla Portela Carreiro Revisión Jenny Figari Querubim Lapa. Fragmento del Revestimiento del Pabellón de Portugal, Agradecimientos Comptoir Suisse, Lausana, 1957. Carla Melo Conceição Martins (ePAL, SA) Depósito ICeP. Foto DDF. ediciones Afrontamento Familia Loureiro Filipa Soares Fundación Júlio Resende Guilherme Rodrigues (ML) IC – Centro Cultural Português em Luanda IC – Centro Cultural Português em Maputo IC – Centro Cultural Português em Tokio IPHAN – Instituto del Patrimonio Histórico y Artistico Nacional (Brasil) Jenny Figari Jorge Resende (FCG) Luís Chaby Vaz Metropolitano de Lisboa Metro de oporto Miguel Rodrigues (ML) oceanário de Lisboa Taller del Castillo Panel de Apertura. orden Tercera del Carmo de ouro Preto – Minas Gerais Bela silva. Composición, 1999 Prefectura de la Ciudad de ouro Preto – Minas Gerais MNAz 7030 Az. Foto: DDF. Sofia Batalha – Cónsul General de Portugal en Sydney Producción Instituto Camões | Presidência Ana Paula Laborinho | Dinah Azevedo Neves · Coordinación General Instituto Camões Alexandra Pinho | Joaquim Caparica · Coordinación Científica Museu National do Azulejo Maria Antónia Pinto de Matos | Alexandre Nobre Pais · Coordinación Editorial Joaquim Caparica | Alexandra Curvelo | Constança Azevedo e Lima · Diseño Gráfico Atelier/Estudio Nuno Vale Cardoso | Nina Barreiros AzuLeJo PortuguÉs Diálogos Contemporáneos Mapa de la expansión del Azulejo. Siglos XVI-XXI Los locales y edificios señalados no corresponden a la totalidad de la presencia del azulejo portugués en el mundo, expresando, con todo, los casos más significativos. Suecia estocolmo Bélgica Canadá Moscú Isla de São Miguel Berlín Isla de Terceira Windsor Alemania Isla de Santa Maria Reino Unido Bruselas Rusia Isla de Faial Paris Hungría Isla de Pico Ginebra Budapest Isla de Graciosa Francia Toronto Isla de São Jorge Suiza Isla de Flores Cidade do Vaticano Vaticano Azores Portugal Japón Estados Unidos Alcácer Ceguer Tokio Arzila Ciudad de Funchal Madeira Nagasaki Machico Lombado dos esmeraldos Marruecos Miami Calheta México Porto da Cruz La Habana Cuba Ponta do Sol Ciudad de México Santo da Serra India Cabo Verde Goa Santiago S. Tomé y Principe São Luís S. Tomé João Pessoa Angola olinda Luanda Brasil Recife Salvador da Bahia Benguela Moçâmedes (Namibe) ouro Preto Rio de Janeiro São Paulo Mozambique Maputo Australia Santiago Sydney Chile José de guimarães. Iglesia del Carmo de rogério ribeiro. Iglesia de la Iglesia de Nuestra Querubim Lapa. edificio Iglesia de Nuestra teresa Magalhães. Bela silva. Parque de estación de metro de ouro Preto. ouro Preto estación de metro de Virgen de Nazaret. señora del Carmo. del Banco Nacional de señora de la gracia. Goa. estación de metro de Yokoseura – Nagasaki, Chabacano – Ciudad de – Minas Gerais – Brasil, Santa Lucía – Santiago Luanda (Angola). Luanda (Angola), final Mozambique (ex. BNu), Azulejos de producción Martín Place – Sydney, 2003. México, 1996. 1766/1772. de Chile, 1996. originariamente del del siglo XVIII. en Maputo, 1963. portuguesa – primera 1996 Foto: Hayato ebhiara. Foto: José Carlos Foto: Neno Vianna. Foto: José Carlos siglo XVIII. Foto: Carlos Lousada. Foto: Filipe Branquinho. mitad del siglo XVII. Foto: Célio Agostinho Nascimento. Nascimento. Foto: Carlos Lousada. Foto: Alexandra Curvelo. siglo XVI siglo XVII siglo XVIII siglo XIX-XXI Azores Isla de Faial Azores Isla de Santa Maria Angola Benguela Alemania Berlín Francia Paris Isla de São Miguel Isla de São Miguel Luanda Angola Luanda Hungría Budapest Isla Terceira Isla Terceira Azores Isla de São Miguel Moçâmedes India Goa Cabo Verde Santiago Brasil Bahia Isla de Santa Maria Azores Isla de São Miguel Japón Tokio Madeira Ciudad de Funchal Paraíba Isla de Faial Isla Terceira Nagasaki Marruecos Alcácer Ceguer Pernambuco Isla de Pico Isla Faial Madeira Funchal Arzila Rio de janeiro Isla de Graciosa Isla Flores Santo da Serra São Paulo Isla de São Jorge Australia Sydney México Ciudad de México Cabo Verde Santiago Isla Terceira Bélgica Bruselas Mozambique Maputo India Goa Brasil Bahia Brasil Alagoas rusia Moscú Madeira Calheta Maranhão Bahia reino unido Windsor Ciudad de Funchal Minas Gerais Maranhão são tomé Porto da Cruz Pará Minas Gerais y Príncipe S. Tomé Ponta do Sol Paraíba Pará suecia estocolmo Pernambuco Paraíba suiza Ginebra Rio de Janeiro Pernambuco Madeira Ciudad de Funchal Rio de Janeiro Vaticano Vaticano Lombado dos esmeraldos Rio Grande do Sul Machico São Paulo Sergipe Canadá Toronto Chile Santiago Cuba La Habana Fontes bibliográficas MeCo, José, A expansão da azulejaria portuguesa”. Oceanos. Número 36/37, Azulejos. Portugal e o Brasil. Lisboa: Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, outubro 1998/Março 1999, p. 8-19. Património de origem portuguesa no mundo. Dir. José Mattoso. 3 Vols. Lisboa: Fundação Calouste Gulbenkian, 2010. SIMÕeS, João Miguel dos Santos, Azulejaria Portuguesa no Brasil (1500- 1882). Lisboa: Fundação Calouste Gulbenkian, 1965. Producción Instituto Camões | Presidência Ana Paula Laborinho | Dinah Azevedo Neves · Coordinación General Instituto Camões Alexandra Pinho | Joaquim Caparica · Coordinación Científica Museu National do Azulejo Maria Antónia Pinto de Matos | Alexandre Nobre Pais · Coordinación Editorial Joaquim Caparica | Alexandra Curvelo | Constança Azevedo e Lima · Diseño Gráfico Atelier/Estudio Nuno Vale Cardoso | Nina Barreiros AzuLeJo PortuguÉs Diálogos Contemporáneos 1 Hispano-moriscos A finales del siglo XV o comienzos del XVI se asistió a la difusión del uso del azulejo en Portugal como revestimiento de superficies parietales.e stos primeros azulejos se importaban de Sevilla y contaban una fuerte influencia de la cultura islá- mica. elaborados con las técnicas de cuerda seca y de cuenca o arista, presentaban, en una primera fase, fundamentalmente motivos geométricos y lacerías que creaban ricos patrones, muchas veces de grandes dimensiones y llamativos
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