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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 -
Tarot 1 Tarot
Tarot 1 Tarot The tarot (/ˈtæroʊ/; first known as trionfi and later as tarocchi, tarock, and others) is a pack of playing cards (most commonly numbering 78), used from the mid-15th century in various parts of Europe to play a group of card games such as Italian tarocchini and French tarot. From the late 18th century until the present time the tarot has also found use by mystics and occultists in efforts at divination or as a map of mental and spiritual pathways. The tarot has four suits (which vary by region, being the French suits in Northern Europe, the Latin suits in Southern Europe, and the German suits in Central Europe). Each of these suits has pip cards numbering from ace to ten and four face cards for a total of 14 cards. In addition, the tarot is distinguished by a separate 21-card trump suit and a single card known as the Fool. Depending on the game, the Fool may act as the top trump or may be played to avoid following suit. François Rabelais gives tarau as the name of one of the games played by Gargantua in his Gargantua and Pantagruel;[1] this is likely the earliest attestation of the French form of the name.[citation needed] Tarot cards are used throughout much of Europe to play card games. In English-speaking countries, where these games are largely unplayed, tarot cards are now used primarily for divinatory purposes. Occultists call the trump cards and the Fool "the major arcana" while the ten pip Visconti-Sforza tarot deck. -
A Cultural History of Tarot
A Cultural History of Tarot ii A CULTURAL HISTORY OF TAROT Helen Farley is Lecturer in Studies in Religion and Esotericism at the University of Queensland. She is editor of the international journal Khthónios: A Journal for the Study of Religion and has written widely on a variety of topics and subjects, including ritual, divination, esotericism and magic. CONTENTS iii A Cultural History of Tarot From Entertainment to Esotericism HELEN FARLEY Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © Helen Farley, 2009 The right of Helen Farley to be identified as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN 978 1 84885 053 8 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Printed and bound in Great Britain by CPI Antony Rowe, Chippenham from camera-ready copy edited and supplied by the author CONTENTS v Contents -
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. -
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. -
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. -
Final-Tarot-Lesson-2
Art Outreach Program Projects & Lesson Plan: Tarot Card Painting 5TH-8TH GRADE PAINTING PROJECT Lesson Overview: Students will learn about Niki de Saint Phalle’s Personal & Artistic Biography, highlighting one of her major works, the Tarot Garden. Students will analyze symbols on the Tarot Cards to learn to express visual meaning and create their own Tarot Card Project Overview: Using a variety of Tarot Card examples, students will make their own version of a Tarot Card. Students will use color theory, symbolism, and the principles and elements of design to paint their own rendering of a Major Arcana Tarot Card ART VOCABULARY: Sculpture: Making a 3-dimensional art piece by carving or casting Prints & Lithographs: A finished product that comes from the process of reproducing original drawings with printmaking machinery Symbols: A drawing, sign, or word that signifies or is understood as representing an idea, object, or Niki de Saint Phalle - Tarot Cards, lithograph relationship Here is a full spread of the 22 Trump Cards of the Tarot Deck by Niki. Notice that they are all Foreground: The images that are located closest but the Star are Closed Compositions! to the viewer or towards the bottom of the image are what makes up the foreground, colors are Open Composition: An image that extends usually more vibrant beyond the boundaries of a frame Middle ground: The space between the Closed Composition: An image that is contained background and the foreground within the frame Background: The scene that is furthest away, Color Theory: The study of how colors work with slightly duller colors and smaller objects with together to create a composition and to less detail communicate imagery further LEARN ABOUT NIKI DE SAINT PHALLE Background: •Niki de Saint Phalle, born Catherine Marie Agnès Fal de Saint Phalle on October 29th 1930, was a Franco-American artist.