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Jelena Savić
01 / 2020 ISSN 2520-2472 MUSEUMSMUSEUMSMUSEUMS OFOFOF CITIESCITIESCITIES REVIEW REVIEWREVIEW network.icom.museum/camoc/ CAMOC ANNUAL CONFERENCE 2020 “The Right to the City” Krakow, Poland postponed for October 1-3, 2020 DOSSIER: FROM KYOTO TO KRAKOW • RAPID-RESPONSE EXHIBIT • MIGRATING MEMORIES • A MUSEUM FOR THE PEOPLE1 MUSEUMS OF CITIES REVIEW CONTENTS 04 08 20 18 24 10 03 THE CHAIR’S NOTE - The new museum definition Joana Sousa Monteiro and its implications 25 04 NEW MUSEUM APPROACHES - A close experience, 18.108 Respect Existence or Expect kilometres from home Resistance. A Rapid-Response Exhibit 22 RETHINKING MUSEUMS A Personal Reflection from the 07 MUSEUMS1 Symposium A Museum for the IV International Research and People Practice Conference “Museum in the City — City in 25 MUSEUMS AND MIGRATION the Museum” Migrating Memories – 33 Dialogues on the Relationship 10 DOSSIER: FROM KYOTO TO Between Memory, Heritage KRAKOW and Migration BETWEEN THE TWO ANNUAL CAMOC MEETINGS 28 ACTIVITIES & EVENTS CAMOC Kyoto 2019: City The Museum Inside Me Museums as cultural hubs past, present and future 28 EXHIBITION ALERT Upcoming exhibitions Niki de Saint Phalle, “Tarot Garden”. 16 GRANTEE REPORTS: - An overview of the General 34 CONFERENCE ALERT COVER PHOTO: Krakow City. Conference Future conferences © Museum of Krakow Editorial Board: Jelena Savić (Editor), Layla Betti, Jenny Chiu, Renée Kistemaker, Gegê Leme, Marlen Mouliou, Susan Sedgwick, Joana Sousa Monteiro Supporting Team: Catherine Cole, Ian Jones, Chet Orloff, Eric Sandweiss, Rainey Tisdale, Jackie Kiely Design: Bingul Gundas FOLLOW US AT: Facebook Twitter Linkedin You Tube Instagram 2 THE CHAIR’S NOTE From the Chair Dear CAMOC members, The most unexpected has just happened, a global epidemic is forcing us all to reorganise our lives and plans. -
The 5 Coin Oracle
Printed and produced by Old Yellow Moon Publishing February 2019 Copyright Cara Lyn Hamilton © See other products on: www.carahamilton.co.uk www.secret-tarot-garden.com Origins There are numerous coin oracles available. Geomancy based methods are the rule and as reading systems they are excellent and carry a wonderful history if historic methods interest you. This oracle comes from my experience in Tea Cup, Rune and Tarot Reading. As at the time of writing I have over 20 years professional reading experience I hope this speaks well of the thought and process invested in this system. My aim was to create a Zen reading system that would be simple, easy to read and perform. As a reader or performer you can add this into your current work without difficulty. Since I created it a few years ago, I have used it on numerous occasions to add something different into a reading. This oracle pdf gives you a reading framework, and interpretation guide, my additional thoughts on interpretation and how to relate it to a Tarot Reading with my Zairja Tarot Reading. Note: This system is aimed at both the Fortune Teller and the Magician. I believe my system to be of great value to both communities and those who work in both fields. Contents: Requirements How to think about the system Landscape Reading The General Reading Breaking the rules Health Issues With Palmistry The Cartomancy Square The Seven Planets Reading The Zairja Reading Requirements 5 coins, that is it. Personally I use either Victorian pennies or bronze coins of Chinese style and carry interesting Chinese calligraphy markings on one side and sun, moon and monkeys on the other. -
Selected Tarot Garden Press
Selected Tarot Garden Press “Major Arcana.” Tique Denmark Summer 1986: 59-65. Print. (Danish) Miracco, Franco. “L’Imperatrice dei Tarocchi.” Epoca 30 Jan. 1987: 102-107. Print. (Italian) Gunasinghe, Zora. “Niki de Saint Phalle Een toneeldecor in Kassel en een Tarot-tuin in Toscane.” Ruimte Feb. 1987: 2-3, 16-20, 47. Print. (Dutch) Billard, Pierre. “Voyage en Nikiland.” Le Point 30 Mar. – 5 Apr. 1987: 134-136. Print. (French) Graziani, Benno. “Les tarots fantastiques.” L’Express Style 7 May – 4 Jun. 1987: 36-42. Print. (French) Michael, Prince of Greece. “House of Cards.” Architectural Digest Sept. 1987: 124-131. Print. (English) Rose, Barbara. “A garden of earthly delights.” Vogue Dec. 1987: 266-273. Print. (English) Hultén, Pontus. “Niki de Saint Phalle.” Månads Journalen 4 Apr. 1988: 54-61. Print. (Swedish) Lecoultre, Cécile. “Cartomancienne en Toscane.” Femina 15 May 1988: 12-15. Print. (French) Schlag, Beatrice. “Wo Götter sich erheben.” SonntagsZeitung 27 Nov. 1988: 43. Print. (German) Foldes, Lili. “Die skurrile Welt der Niki de Saint Phalle.” Das Beste Reader’s Digest Mar. 1989: 58-63. Print. (German) Dunlop, Fiona. “Niki in Wonderland.” The Sunday Times Magazine 28 May 1989: 68-71. Print. (English) Michel, Prince de Grèce. “Niki, dame des tarots.” Maison & Jardin Sept. 1989: 174-181. Print. (French) Gunasinghe, Zora. “Giardino dei Tarocchi.” Tableau Sept. 1989: 110-112. Print. (English) Ciucci, Alessandra and Flavia Matitti. “Nel Paese dei Tarocchi.” Art e Dossier Nov. 1989: 24- 25. Print. (Italian) Rodota, Maria Laura. “Tarocchi selvaggi.” Panorama 24 Jun. 1990: 62. Print. (Italian) Graziani, Benno. “Le jardin extraordinaire de Niki de Saint Phalle.” Point de Vue 28 Jul. -
September 18 – December 14, 2015 the National Art Center, Tokyo
September 18 – December 14, 2015 The National Art Center, Tokyo Organized by: The National Art Center, Tokyo Réunion des musées nationaux - Grand Palais Niki Charitable Art Foundation NHK NHK Promotions Inc. With the support of: Ambassade de France / Institut français du Japon With the sponsorship of: Nissha Printing Co., Ltd. With the special cooperation of: Yoko Shizue Masuda Collection With the cooperation of: Air France / KLM Royal Dutch Airlines 008 015 Collection Musée d’Art Moderne et d’Art Green Sky Pink Tir Contemporain, Nice, donated by the artist in 1 2001 May 1961 1972/1988 Enfant Terrible: Rebel Artist Paint, plaster and various objects (gun, comb, Paint, plaster and various objects on paper mirror, suspender, baby’s shoe, etc.) on 68.5 × 81.8 cm 001 masonite Yoko Shizue Masuda Collection Autoportrait 46.5 × 42 × 5 cm ahlers collection 016 1958-59 Tyrannosaurus Rex / The Monster / Tir 2 Paint and various objects (pebbles, coffee 009 beans, crockery fragments, etc.) on wood Dragon (Study for King Kong) Women in Question 141 × 141 × 10 cm Martyr nécessaire / Saint Sébastien Spring 1963 Niki Charitable Art Foundation, Santee / Portrait de mon amour / Portrait of Paint, plaster, taxidermal animal, plastic and 023 Myself various objects on wood Cœur de monstre 002 1961 198 × 122 × 25 cm 1962 Scorpion and Stag Paint and various objects (dartboard, darts, Niki Charitable Art Foundation, Santee; Paint, plaster and various objects (wool, wire Courtesy Galerie GP & N Vallois, Paris 1959 man’s shirt, tie, packet of cigarettes, gun) -
Niki De Saint Phalle: Structures for Life Moma PS1, March 11, 2021 - September 06, 2021
Niki de Saint Phalle: Structures for Life MoMA PS1, March 11, 2021 - September 06, 2021 NIKI DE SAINT PHALLE (French and American, 1930–2002) Clarice Again 1966–1967 Polyester and polyurethane paint 82 × 65 × 63" (208.3 × 165.1 × 160 cm) Private collection NIKI DE SAINT PHALLE (French and American, 1930–2002) Buste c. 1967 Painted plaster 4 1/2 × 6 1/8 × 3 15/16" (11.4 × 15.6 × 10 cm) Courtesy Salon 94, New York NIKI DE SAINT PHALLE (French and American, 1930–2002) Sphinx / Sphinge (1ere version) 1969 Painted polyester 11 5/8 × 16 1/8 × 10 5/8" (29.5 × 41 × 27 cm) Private collection NIKI DE SAINT PHALLE (French and American, 1930–2002) JEAN TINGUELY (Swiss, 1925–1991) Études pour Nana Maison c. 1969 Black marker on paper 16 1/4 × 11 11/16" (41.3 × 29.7 cm) Private collection 3/29/2021 Niki de Saint Phalle: Structures for Life Page 1 of 43 Niki de Saint Phalle: Structures for Life MoMA PS1, March 11, 2021 - September 06, 2021 NIKI DE SAINT PHALLE (French and American, 1930–2002) What Is Now Known Was Once Only Imagined 1979 Offset-printed poster 17 15/16 × 24" (45.6 × 61 cm) Courtesy Salon 94, New York NIKI DE SAINT PHALLE (French and American, 1930–2002) Golem 1991 Two lithographs and one book in folio, with photographs by Leonardo Bezzola; published by Bätterkinden 16 1/8 × 16 15/16" (41 × 43 cm) Courtesy Salon 94, New York RICO WEBER (Swiss, 1942 – 2004) Golem 1972 Video (color, sound) 1 hrs., 17 min., 37 sec. -
Annual Review 2012-13
THE BRITISH SCHOOL AT ROME Annual Review 2012–2013 impag pp1-17 2013 q8:papers 27/08/13 17:19 Page 1 THE BRITISH SCHOOL AT ROME Patron: HM The Queen President: HRH Princess Alexandra, the Hon. Lady Ogilvy, KG, GCVO The British School at Rome is a centre of interdisciplinary research excellence in the Mediterranean supporting the full range of arts, humanities and social sciences. We create an environment for work of international standing and impact from Britain and the Commonwealth, and a bridge into the intellectual and cultural heart of Rome and Italy. The BSR supports: ■ residential awards for visual artists and architects ■ residential awards for research in the archaeology, history, art history, society and culture of Italy and the Mediterranean ■ exhibitions, especially in contemporary art and architecture ■ a multidisciplinary programme of lectures and conferences ■ internationally collaborative research projects, including archaeological fieldwork ■ a specialist research library ■ monograph publications of research and our highly rated journal, Papers of the British School at Rome (PBSR) ■ specialist taught courses. T HE B RITISH S CHOOL AT R OME Via Gramsci 61, 00197 Rome, Italy Tel. +39 06 3264939 Fax +39 06 3221201 E-mail [email protected] www.bsr.ac.uk BSR London Office (for scholarship and publications enquiries): The BSR at The British Academy 10 Carlton House Terrace, London, SW1Y 5AH, UK Tel. +44 (0)20 79695202 Fax. +44 (0)20 79695401 E-mail [email protected] Registered Charity no. 314176 1 impag pp1-17 2013 q8:papers 27/08/13 -
THE VEIL of ISIS by Jeni Bethell
THE VEIL OF ISIS by Jeni Bethell In the Major Arcana of the Tarot, The High Priestess is said to represent the receptacle of which the Magician, the seed, has need. It is through this union between the feminine, passive, unconscious High Priestess and the Magician’s masculine, activating self-consciousness, that the animating principle of the Magician can be activated by the Empress. One of the roles of mythology is to present to us concepts, sometimes quite complex, which, when personalised in story, can be more readily digested and comprehended. The great Egyptian goddess, Isis, was worshipped far and wide for over 3000 years as Magician, as devoted wife and mother (Empress) and also as High Priestess, guardian of the veil. In presenting a little of the mythology surrounding Isis, I hope to demonstrate, by analogy, the profound role the High Priestess energy plays in linking the energies of Magician and Empress, and also to shed a little light on the great spiritual wisdom She, the High Priestess, offers. The Journeys of Isis Perhaps the most famous myths surrounding Isis concern her journeys in search of her beloved brother and husband, Osiris. Their evil brother, Seth, had tricked Osiris into lying in a sarco phagus that was then nailed down and set afloat on the Nile. It ultimately landed in Byblos, was enwrapped by a tamarisk tree which was cut down by the king to form a pillar for the roof of his palace. Having eventually located Osiris and brought him back to Egypt, Isis, adopting the wings of a kite, breathed life ba ck into Osiris's body. -
In the Tarot Garden, a Creation by Niki De Saint Phalle
18 DECEMBER 2014 CATERINA POMINI 9067 IN THE TAROT GARDEN, A CREATION BY NIKI DE SAINT PHALLE The Giardino dei Tarocchi (Tarot Garden) lies on the southern slope of the Garavicchio hill, approximately 8 km from Capalbio, province of Grosseto; the French-American sculptor Niki de Saint Phalle (born Catherine Marie-Agnès Fal de Saint Phalle) began to build it in 1979, after personally visiting Antoni Gaudí's Parco Güell in Barcelona and the Parco dei Mostri (Park of the Monsters) in Bomarzo, province of Viterbo. It looks like a town out of time, a triumph of colours, mirrors, glasses, ceramics and Venetian murrine in the heart of Southern Tuscany's Maremma countryside; the 22 monumental sculptures representing the greater Mysteries of the tarot seem to rule over the cobblestone paths, the oaks and the olive trees, over the cobalt blue sea extending to the horizon. To make this magical and spiritual dream come true, Niki spent about seventeen years working and living in the Garden, assisted by her husband Jean Tinguely, a team of renowned contemporary artists and a group of specialized workers; the Swiss architect Mario Botta constructed a wall and entrance for it: a thick wall with one large circular opening, which clearly separates the Garden from the outside world. During construction works, Niki moved into The Empress-Sphinx and patiently waited for her sculptures to take shape (or maybe to come to life?)... She died four years after the opening of her spellbinding Creation, which is now maintained by the Fondazione Il Giardino dei Tarocchi. Beyond the wall, the dusty gravel path goes up to a large square occupied by the Magician and the High Priestess, the first two Major Arcana: the masculine power of creation and the feminine inner intuition form a single, massive statue, which supplies water to the Wheel of Fortune's fountain. -
The Red Violin
THE RED VIOLIN By Robert Gordon Kille Adobe Lodge XLI Mostly parapharsed, (stolen) from vaious sources.... ctually, the story of the Red Violin spans Afive countries and over 300 years from the time it was created in 1681 by Niccolò Bussoti in Cremona, Italy to its sale at the Duval auction house in Montreal, Canada in 1997. At the beginning of the film, Bussoti’s wife Anna asks her servant Cesca to read her fortune according to the Tarot cards. Five cards are laid out on the table, and Cesca overturns each one at various points in the movie. The first card to be overturned is The Moon, which Cesca interprets as pointing to a long life with many journeys. This fortune is in contradiction to Anna’s fate, as Anna dies shortly thereafter in childbirth. As the movie progresses, it ecomes apparent that the remaining Tarot cards The Hanged Man, The Devil, Justice, and Death—are actually describing the “life” of the Red Violin. What do all five Tarot cards mean? The first card, The Moon (La Luna), is inter- preted by Cesca as meaning “a long life, full and rich” with many journeys. In the context of the movie, it refers to the birth of the Red Violin and its journey through life. The second card, The Hanged Man (L’Impiccato), warns of “danger” and “dis- ease” and corresponds to the violin’s child- hood with Kaspar Weiss. 1 esca describes The Devil (Il Diavolo), as referring to “a time of lust and energy”, Cduring which she will meet a handsome, intelligent, and seductive man. -
NIKI DE SAINT PHALLE: a Psychological Approach to Her Artwork and the Symbolic Significance of the Tarot Garden by Paul Brutsche
ARAS Connections Issue 1, 2012 NIKI DE SAINT PHALLE: a Psychological Approach to Her Artwork and the Symbolic Significance of the Tarot Garden By Paul Brutsche The images in this paper are strictly for educational use and are protected by United States copyright laws. 1 Unauthorized use will result in criminal and civil penalties. ARAS Connections Issue 1, 2012 Niki de Saint Phalle died in 2002 in San Diego. She was already a famous artist during her lifetime, and since her death she continues to be a presence in the media and in her big and colorful sculptures. She has left behind her, important work, which seems easy of access and yet at the same time is enigmatic and unusual in its style and therefore difficult to understand. This paper tries to contribute to an understanding of her work through symbolical interpretation along Jungian lines. This psychological approach is not meant to give a reductive explanation of Niki de Saint Phalle’s personality, but on the contrary, to open an additional perspective and to honor her creative effort by discovering a symbolical depth beyond and in addition to the aesthetic and artistic value of her work. I will first introduce Niki de Saint Phalle with a biographical overview of her life. Then we will take a look at several aspects of her creative work: first, her critical examination of the conventions and the spirit of the patriarchy, and secondly, a later phase in which she created her well known “Nana Figures,” in which she found her own corresponding feminine self. -
Tarot of Marseilles
TAROT OF MARSEILLES Piatnik-Vienna TAROT OF MARSEILLES GEORG GOTTLOB Piatnik-Wien TAROT TRADITION AND PIATNIK’S TAROT CARDS THE 22 MAJOR ARCANA OF TAROT Tarot consists of pictographic cards, which gave rise to the game of Taroc as it is known in Our days. Tarot cards in Europe emerged apparently as early as in the course of the 14th century partly in Italy and partly in France. There are theories, however, according to which Tarot in fact originated in ancient Egypt, from where it took its course to conquer the world. In many of the Eastern countries, from Egypt through India and to China, one actually may find a number of such figurative images with a likeness to the Tarot figures: even the Gypsies have such cards, which may explain how these were spread in Asia and Europe. It is just as difficult to prove scientifically the genesis of the Tarot cards as to ascertain the origin of the name of tarot. Some scientists think that this name is of French origin, but Gustav Meyrinck, in his book ‘The Golem’ is of the opinion ‘[...] that aroc or Tarot has the same meaning as the Hebrew word ‘Torah’ (the Law), or the name may be connected with the ancient 3 Egyptian word ‘Taruth’ (the One who is consulted), or it may come from the word ‘Tarisk’ of the ancient Zend language, which means “I demand the answer.“ The Tarot cards are used for “play as well as — and this is more often the case — for “fortune telling’. A packet consists of 78 cards: 22 of the major Arcana (= the great mysteries) which are the same as the trumps in the game of Taroc, and of the 56 minor Arcana (the lesser mysteries). -
The Different Types of Tarot - Purposes and Intentions
Adam McLean’s Study Course on the artwork and symbolism of modern tarot Lesson 3 : The different types of tarot - purposes and intentions When the human mind is presented with a thousand and more related things each different from the other in various ways, it cannot help wanting to classify them, and put them into different categories, hoping that this might throw some light on the subject. So now we inevitably find ourselves drawn to categorise our tarots. It would be a very complex task of almost forensic scholarly analysis to see the various influences on each tarot and draw up a kind of family tree of imagery, with so many branches and interconnections. Such an approach though interesting will be better left to some student to undertake in their Ph.D. thesis, as it would be a bit tedious, breaking the momentum of our journey in our course of exploring tarot art. So though we will not be looking at a scholarly categorization of tarot designs, there are a number of easier and more immediately meaningful approaches we can take which will help us see different types of tarots. We can, for example, look at the intention of the designer in making the images. What was the purpose they intended in creating their individual set of designs. Now such an approach is fraught with danger as, unless we have discussed this with the artist or designer, what right do we have to say what their intentions were? (Artists in any case usually duck questions about their motivations, or at least give all sorts of obscure answers, so we might not get very far by asking them directly.) We will not get our Ph.D’s with this approach of guessing or estimating the artists’ intentions, but we should get some understanding and insight, flawed though this method may be.