Multiculturalismo E Identidades En Tránsito

Total Page:16

File Type:pdf, Size:1020Kb

Multiculturalismo E Identidades En Tránsito AdVersuS Publicación del Istituto Italo-argentino di Recerca Sociale (IIRS) ISSN: 1669-7588 Año VII, Nº 18, agosto 2010 En línea: agosto de 2010 Imagen de portada: BENEDIT Luis F., Viejo hotel de inmigrantes, 2003 Copyright 2004 © Adversus.org | Casilla de Correo Nº 3, Sucursal 9 B, CP 1409 | Ciudad de Buenos Aires | República Argentina AdVersuS, VII, 18, agosto 2010 ISSN:1669-7588 PROPUESTA EDITORIAL [Ad honorem] AdVersuS es una publicación periódica, de distribución gratuita y sin fines de lucro (cuatrimestral en su versión on line; anual en su versión impresa) del Centro di Ricerca Semiotica (CRS) del Istituto Italo-argentino di DIRECTOR ACADÉMICO Y GENERAL Ricerca Sociale (IIRS) con el patrocinio del Istituto Italiano di Ricerca Sociale de Roma y del Institut Européen de Recherche Sociale de Hugo R. Mancuso Bruselas en colaboración con sendos institutos universitarios o nacionales de investigación. Tiene por objeto difundir trabajos originales en español, italiano, francés y portugués así como traducciones de artículos escritos CONSEJO CIENTÍFICO en inglés, ruso y alemán, dedicados a cuestiones teóricas de semiótica y Renato Barilli lingüística general así como a aplicaciones referidas preferentemente a Università di Bologna investigaciones en curso o recientemente finalizadas sobre temas de la José Emilio Burucúa realidad socio-cultural europea y americana y de sus interrelaciones Universidad de Buenos Aires mutuas. Entran también en este campo problemas teóricos, episte- Dario Corno mológicos y metodológicos de las ciencias sociales así como la Associazione Italiana di Semiotica - historización de las principales tradiciones culturológicas, semióticas, Torino lingüísticas y sociológicas del siglo XX. Maurizio Dardano Università di Roma I “La Sapienza” Ejercerá la dirección de la publicación el Director del IIRS-CRS, asistido Tullio De Mauro por el Consejo Científico, integrado por especialistas internacionales en la Università di Roma I “La Sapienza” materia. Umberto Eco Università di Bologna AdVersuS incluirá dos secciones fijas y permanentes: Artículos, Notas y Massimo Gilardi eventualmente Reseñas, Dossier, Bibliografías y Noticias Científicas Istituto Gramsci – Roma (de actualización mensual). Emilio Garroni (†) Università di Roma I “La Sapienza” La versión on line [www.adversus.org] republicará progresivamente una Julio Godio selección de los principales artículos ya publicados en las versiones Instituto del Mundo del Trabajo - Buenos cartáceas (de las ediciones italiana y argentina; desde el número 1 del Aires año I en diciembre de 1990) así como otros de datación reciente. La Luigi Lombardi Satriani Dirección no se responsabiliza por las opiniones vertidas por los Università di Roma I “La Sapienza” colaboradores. Jury Lotman (†) Universidad de Tartu AdVersuS Revista de Semiótica - ISNN 1669-7588 Irénne Marcille Academia de Ciencias - Moscú Indizada en: Latindex (Sistema regional de información en línea para Floyd Merrell revistas científicas de América Latina, el Caribe, España y Portugal. Purdue University – West Lafayette - Catálogo) - Intute: Arts and Humanities (Servicio de acceso a recursos Indiana para investigación y educación, seleccionados y evaluados por una red de Walter Mignolo especialistas. University of Oxford, Manchester Metropolitan University Duke University and the University of the Arts London, UK) - Dialnet (Directorio de publica- Mario Petrucciani ciones científicas hispanoamericanas, Universidad de La Rioja, España)- Università di Roma I “La Sapienza” Universia (Red de cooperación y colaboración universitaria de habla Luis Prieto (†) hispana y portuguesa) - University of Saskatchewan Library (Canadá) Universite de Geneve Thomas Sebeok(†) AdVersuS is a non-profit publication, freely distributed (pu-blished every Indiana University four months in its on line version), of the Centro di Ricerca Semiótica Raffaele Simone (CRS), the Istituto italoargentino di Ricerca Sociale (IIRS)- with the Università di Roma Tre sponsorship of the Istituto italiano di Ricerca Sociale, settled in Rome- and the Institut Européen de Recherche Sociale, established in Brusels, in SECRETARIA DE REDACCIÓN collaboration with both university or national resarch institutes. It intends to Alejandra Niño Amieva spread original works in Spanish, Italian, French and Portuguese dedicated to therietical questions of semiotics and of general linguistics GERENTE ADMINISTRATIVO EDITORIAL (resarches in course or recetnly finished concerning subjectos of bothe Charles de Romrée de Vichenet European and American social and cultural realities). CORRESPONDIENTES ® CRS-IIRS – Instituto de investigación y enseñanza de postgrado, sin Alessandro Canofani (Roma) interés de lucro, no incorporado a la enseñanza oficial - Matrícula n° Massimo Casali (Roma) 14.544 de la Superintendencia Nacional de la Enseñanza Privada - Departamento de Certificaciones y Registro Documental del Ministerio de COLABORADORES Educación de Argentina. Gabriela Galati Aimé Iglesias Lukin © Registro de la Propiedad Intelectual: Expediente n° 180.052/11-04-90 Patricia Trigub Clover de la Dirección Nacional del Derecho de Autor de Argentina - All rights Mercedes Niklison reserved - Buenos Aires en el mes de abril de 2004. AdVersuS, VII, 18, agosto 2010 ISSN:1669-7588 PAUTAS DE PUBLICACIÓN Las colaboraciones serán solicitadas por el Director o presentadas por el Consejo Científico. AdVersuS incluirá dos secciones fijas y permanentes: - Artículos: Artículo científico completo (Full paper) Artículos de revisión y actualizaciones (Reviews, Update) - Notas: Comunicaciones cortas (Short communication, Brief report) Informes de casuística (Case report) Crítica y opinión Entrevistas Y eventualmente Reseñas bibliográficas y de revistas científicas, Dossier y Novedades o Noticias Científicas (cursos, congresos, eventos) de actualización mensual. Se aceptarán colaboraciones las que deberán enviarse por correo electrónico a [email protected] y/o [email protected] o por correo postal (en original y copia) a la dirección de la publicación (Casilla de Correo Nº 3, Sucursal 9 B, CP 1409, Ciudad de Buenos Aires, R. Argentina) con una extensión máxima de 40 páginas para los artículos y de 20 páginas para las notas (incluidas las notas y la bibliografía) en formato MS Word © a razón de 10/12 palabras por línea, 30 líneas por página A4, en fuente Times New Roman 12, justificado en caja. El aparato crítico deberá ajustarse estrictamente al adoptado por la publicación (citaciones en formato autor/fecha, con bibliografía y notas al final) no considerándose aquellos trabajos que no se ajusten a él. Se deberá adjuntar un abstract (200-250 palabras en el caso de artículos; 100-150 palabras para comunicaciones cortas e informes de casuística) y palabras clave (tres a cinco), en la lengua original del artículo y en inglés, así como el nombre, la institución y el correo electrónico del autor o autores Se aceptan reseñas de publicaciones recientes, las cuales no deberán exceder las dos páginas y no deberán incluir notas ni bibliografía. Los trabajos serán sometidos arbitraje y revisados anónimamente por tres evaluadores externos, expertos en la materia. Se presumen inéditos a menos que lo aclare el autor, quedando en este último caso a consideración del Consejo publicarlo o no. Los artículos publicados en AdVersuS podrán salir en la versión impresa y /o números extraordinarios. La recepción de originales vencerá 60 días antes de la publicación de cada número y su aceptación será comunicada al autor con una anticipación de 30 días. Pautas para la presentación de referencias bibliográficas Libros: FRYE Northop 1957 Anatomy of Criticism, Princeton: Princeton University Press, (tr.esp.: Anatomía de la crítica, cuatro ensayos, Caracas: Monte Ávila, 1991) Capítulos de libros: CHITTY Andrew 1998 “Recognition and Social Relations of Production”, in AA.VV., Historial Materialism. Critical Marxist Theory, London: The London Schoool of Economics, vol. 2, 57-98 Artículos en publicaciones periódicas: ROSSI-LANDI Feruccio 1966 “Sul linguaggui verbale e non-verbale”, Nuova Corrente, 37, Roma: 5-23 Artículos en publicaciones periódicas en línea: MERRELL Floyd 2005 Agonística paradigmática, Adversus [on line], agosto, II, 3, [citado el 12 de diciembre de 2005], disponible en http://www.adversus.org/indice/nro3/articulos/articulomerrel.htm, ISSN:1669-7588 Las referencias en el texto deben atender al formato siguiente: (Frye 1957); (Frye 1957 (1991):47); Rossi-Landi (1966:8) Las referencias bibliográficas serán listadas en orden alfabético y los trabajos de un mismo autor en orden cronológico AdVersuS, VII, 18, agosto 2010 ISSN:1669-7588 SUMARIO MULTICULTURALISMO E IDENTIDADES EN TRÁNSITO PRESENTACIÓN Del estado nación al estado multicultural 1-4 ARTÍCULOS LENGUAS Y CULTURAS EN CONTACTO Nacionalismo, multiculturalismo y etnogénesis 6-48 (las corrientes migratorias italianas en los siglos XIX y XX, el caso argentino comparado) HUGO R. MANCUSO Lengua italiana, dialectos y lenguas extranjeras 49-72 GIOVANNI CAPRARA La traducción (francés-español) de textos 73- 106 económicos de divulgación desde una perspectiva didáctica JULIA LOBATO PATRICIO, NATALIA DURÁN CRUZ, CARMEN MARÍA MORÓN SÁNCHEZ Pensamiento diagramático e integración conceptual 107-128 MIGUEL ARIZA El nombre propio en el ámbito lingüístico- 129-146 publicitario como una marca con significado LIDIA PELLICER GARCÍA La re-fundación del lazo en el ritual jurídico en el 147- 164 caso de los jurados populares en Córdoba CINTIA WECKESSER ESTÉTICAS
Recommended publications
  • THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
    THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years.
    [Show full text]
  • Kateryna Gorlenko
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Master Thesis Art to Collect Art: Acquisition Policies of Museums of Modern Art from 1980s to the Present Author Kateryna Gorlenko Academic degree aspired Master (MA) Wien, 2010 Studienkennzahl : A 067 805 Studienrichtung:: Individuelles Masterstudium: Global Studies – A European Perspective Supervisor: Ao. Univ-Prof. i.R. Dr. Gernot Heiss Art to Collect Art: Acquisition Policies of Museums of Modern Art 2 Table of Contents List of tables ........................................................................................................ 4 Acknowledgements .............................................................................................. 5 Abbreviations ....................................................................................................... 7 Introduction ......................................................................................................... 8 1. Museum of Modern Art ................................................................................. 17 1.1. The Role Art Museums Play in Our Life ................................................................ 18 1.2. New Perspectives for Museums of Modern Art .................................................... 21 1.3. Is the Future of Museums of Modern Art in Danger? .......................................... 25 2. Tate Modern ................................................................................................... 30 2.1. Tate Modern:
    [Show full text]
  • Yagi Kazuo (1918-1979)
    YAGI KAZUO (1918-1979) Born in Kyoto on July 4, 1918, Yagi Kazuo was the eldest son of ceramist Yagi Issō (1894-73), who excelled at works inspired by Chinese Song Dynasty ceramics. After graduating from the sculpture department of the Kyoto Municipal School of Arts and Crafts, Yagi Kazuo became a student at the Ceramic Research Institute in Kyoto and in 1946 took part in establishing the Young Pottery- makers’ Collective, which was disbanded in mid-1948. Later that year, he co-founded the avant- garde group Sōdeisha as a vehicle for expanding the expressive possibilities of clay. Yagi focused on the creation of “objets” — neither pure sculpture nor simply vessels. In 1954 at the Form Gallery in Tokyo, he exhibited his now iconic work “Mr. Zamsa’s Walk,” which marked his radical repositioning of the potter’s wheel as a mere mechanical tool instead of the determining factor in the forming process. However, like his Sōdeisha colleagues, Yagi began with utilitarian vessels inspired by modern Western art. In 1962, together with Yamada Hikaru, he established Mon Kōbō (“Corner Workshop”), in which Yamada was responsible for the functional forms and Yagi for the surface patterning. Yagi was quite comfortable producing sculptural forms and utilitarian vessels simultaneously and respected them equally. He was also the first artist to incorporate smoke- blackened ware into the modern ceramic vocabulary, starting in 1957. This manner of treating the surface allowed the original sharpness of the sculpted clay form to remain visible; moreover, it remained unassociated with any prior Japanese ceramic tradition. With broad interests in poetry, music and photography and known for his sarcastic wit and intellect, Yagi inevitably became Sōdeisha’s spokesman.
    [Show full text]
  • Open Windows 10
    Leticia de Cos Martín Martín Cos de Leticia Beckmann Beckmann Frau than Quappi, much more more much Quappi, pages 47 — 64 47 — 64 pages Clara Marcellán Marcellán Clara in California in California Kandinsky and Klee Klee and Kandinsky of Feininger, Jawlensky, Jawlensky, of Feininger, and the promotion promotion the and Galka Scheyer Galka Scheyer ‘The Blue Four’: Four’: Blue ‘The pages 34 — 46 34 — 46 pages Manzanares Manzanares Juan Ángel Lpez- Ángel Juan ~' of modern art as a collector as a collector Bornemisza’s beginnings beginnings Bornemisza’s - ~~.·;•\ Thyssen Baron On ~ .. ;,~I il~ ' r• , ~.~ ··v,,,:~ ' . -1'\~J"JJj'-': . ·'-. ·•\.·~-~ . 13 — 33 pages Nadine Engel Engel Nadine Expressionist Collection Collection Expressionist Thyssen-Bornemisza’s German German Thyssen-Bornemisza’s Beginning of Hans Heinrich Heinrich Hans of Beginning 1, 1 ~- .,.... Museum Folkwang and the the and Folkwang Museum ,..~I,.. '' i·, '' ·' ' ' .·1,.~.... Resonance Chamber. Chamber. Resonance . ~I•.,Ji'•~-., ~. pages 2 — 12 2 — 12 pages ~ -~~- . ., ,.d' .. Ali. .~ .. December 2020 2020 December 10 10 Open Windows Windows Open Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent­ hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys­ sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten.
    [Show full text]
  • 9054 MAM MNM Gallery Notes
    Museums for a New Millennium Concepts Projects Buildings October 3, 2003 – January 18, 2004 MUSEUMS FOR A NEW MILLENNIUM DOCUMENTS THE REMARKABLE SURGE IN MUSEUM BUILDING AND DEVELOPMENT AT THE TURN OF THE NEW MILLENNIUM. THROUGH MODELS, DRAWINGS, AND PHOTOGRAPHS, IT PRESENTS TWENTY-FIVE OF THE MOST IMPORTANT MUSEUM BUILDING PROJECTS FROM THE PAST TEN YEARS. THE FEATURED PROJECTS — ALL KEY WORKS BY RENOWNED ARCHITECTS — OFFER A PANORAMA OF INTERNATIONAL MUSEUM ARCHITECTURE AT THE OPENING OF THE 21ST CENTURY. Thanks to broad-based public support, MAM is currently in the initial planning phase of its own expansion with Museum Park, the City of Miami’s official urban redesign vision for Bicentennial Park. MAM’s expansion will provide Miami with a 21st-century art museum that will serve as a gathering place for cultural exchange, as well as an educational resource for the community, and a symbol of Miami’s role as a 21st-century city. In the last decade, Miami has quickly become known as the Gateway of the Americas. Despite this unique cultural and economic status, Miami remains the only major city in the United States without a world-class art museum. The Museum Park project realizes a key goal set by the community when MAM was established in 1996. Santiago Calatrava, Milwaukee Art Museum, 1994-2002, Milwaukee, At that time, MAM emerged with a mandate to create Wisconsin. View from the southwest. Photo: Jim Brozek a freestanding landmark building and sculpture park in a premiere, waterfront location. the former kings of France was opened to the public, the Louvre was a direct outcome of the French Revolution.
    [Show full text]
  • LUIS ROLDÁN. Eidola
    LUIS ROLDÁN. Eidola Opening Reception: Thursday April 2, 6-9 pm Exhibition runs through May 16, 2015 Gallery Hours: Tuesday to Saturday 11-6 pm Henrique Faria Fine Art is pleased to present Eidola, Luis Roldán’s third exhibition in the gallery and his fifth in New York City.Eidola , plural of eidolon, meaning a specter or phantom, or an idealized person, is a presentation of new work by Roldán that includes painting and objects. The title of the exhibition is invoked through Roldán’s practice of re-purposing and re-contextualizing found objects, objects that had a previous “life” and function before their reincarnation as objets d’art. Mariangela Méndez writes in the exhibition text, “Ruins are crumbles of our material world, abandoned fragments, hollowed out of the divine spirit that once animated them. Images give us hope, that particular hope of accessing the world without limits.” The interaction of the paintings and sculptures is meant to represent the cyclic dialogue of life, death and rebirth, of how life informs art and how art, in turn, informs life. The materials that compose the wooden sculptures were, in fact, originally hat molds. Standing in for the human head, these molds were used to transform felt into pieces of fashion. As styles changed and hats were no longer an essential item of clothing, the molds became obsolete, relics of a different time; but their likeness to the human skull established them as eidola. Méndez remarks, “what is really remarkable of the skull as image is the effect it has on recognition.
    [Show full text]
  • The Role of the Museum in the Education of Young Adults Motivation, Emotion and Learning
    THE ROLE OF THE MUSEUM IN THE EDUCATION OF YOUNG ADULTS MOTIVATION, EMOTION AND LEARNING Edited by STEFANO MASTANDREA and FRIDANNA MARICCHIOLO 2016 Università degli Studi Roma Tre Dipartimento di Scienze della Formazione THE ROLE OF THE MUSEUM IN THE EDUCATION OF YOUNG ADULTS MOTIVATION, EMOTION AND LEARNING Conference proceedings Rome, October 10-11, 2013 Edited by STEFANO MASTANDREA and FRIDANNA MARICCHIOLO 2016 Coordinamento editoriale: Gruppo di Lavoro Editing: Ludovica Tiberti Edizioni: © Roma, novembre 2016 ISBN: 978-88-97524-83-0 http://romatrepress.uniroma3.it Quest’opera è assoggettata alla disciplina Creative Commons attribution 4.0 International Licence (CC BY-NC-ND 4.0) che impone l’attribuzione della paternità dell’opera, proibisce di alterarla, trasformarla o usarla per produrre un’altra opera, e ne esclude l’uso per ricavarne un profitto commerciale. Immagine di copertina: Gianni Nieddu, Ingresso libero (Free entrance), 2015 Index STEFANO MASTANDREA, FRIDANNA MARICCHIOLO, Introduction 5 GABRIELLA BARTOLI, Psychological Research on Museum 9 ALBERTO QUAGLIATA, LAVINIA BIANCHI, Art in Learning Process 15 PAUL J. LOCHER, Comparison of the Perception and Evaluation of Paintings Viewed in the Original versus Reproduction Formats 27 LORENZO CANTATORE, The Museum as a Tool for Social Education.The Experience of Palma Bucarelli (1945-1975) at the Galleria Nazionale d’Arte Moderna of Rome 35 JOÃO PEDRO FRÓIS, CAROLINA SILVA, Portraits of Meaning Making: Mediation Strategies in Encounters with Artworks 45 MARTINA DE LUCA, Museum and Young People 79 HOLGER HÖGE, Visiting Museums: Some Do and Some Do Not 95 JEAN-CHRISTOPHE VILATTE, HANA GOTTESDIENER, PIERRE VRIGNAUD, Art Museum Attendance: The Influence of Personality.
    [Show full text]
  • Intersections in a Global Scene”
    CIMAM 2005 Annual Conference “Museums: Intersections in a Global Scene” A two-day conference examining the role of the art museum and the geopolitics of knowledge, with a focus on the Latin-American context 21- 22 November, 2005 – Pinacoteca do Estado, Sao Paulo, Brazil INDEX Welcoming remarks and introduction Marcelo Mattos Araújo – Director, Pinacoteca do Estado 4 Welcoming remarks and introduction II Alfred Pacquement – President, CIMAM 5 Welcoming remarks and introduction III Alissandra Cummins – President, ICOM 6-7 “Museums: Intersections in a Global Scene”: Conference guidelines Manuel Borja-Villel – Secretary / Treasurer, CIMAM 8-9 Our Museums Ivo Mesquita – Curator, Pinacoteca do Estado 10-13 Session 1 To See and be Seen: A Micropolitics of the Image Maurizio Lazzarato 14-19 Session 2 The Museum and Other Success Stories in Cultural Globalisation Walter Grasskamp 20-31 Panel Discussion I: Ursula Biemann, Brian Holmes, Suely Rolnik. Moderator: Ivo Mesquita The Black Sea Files Ursula Bieman 32-34 Beyond the Global One Thousand Brian Holmes 35-39 For or Against Museums: a false problem? Suely Rolnik 40-45 Questions following the Panel Discussion I 46-47 Session 3 [not authorized transcription of a talk] Discourse on the (Curatorial) Method Roger M Buergel 48-54 Questions and comments following Roger M. Buergel 55 Panel Discussion II: Zdenka Badovinac, Lynne Cooke, Vasif Kortun. Moderator: Robert Fleck Marjetica Potr - Andreja Kuluni Zdenka Badovinac 56-58 CIMAM 2005 Annual Conference “Museums: Intersections in a Global Scene” - 2 - Lynne Cooke 59-61 Vasif Kortun 62-63 Questions following the Panel Discussion II 64-65 Session 4 Museums in the Colonial Horizon of Modernity Walter Mignolo 66-77 Panel Discusión III: Ana Longoni, Ariel Jiménez, Gabriel Pérez Barreiro, Virginia Pérez- Rattón.
    [Show full text]
  • No. 26 SPRING/SUMMER 2011 Assessorato Alle Politiche Culturali E Centro Storico Sovraintendenza Ai Beni Culturali
    No. 26 SPRING/SUMMER 2011 Assessorato alle Politiche Culturali e Centro Storico Sovraintendenza ai Beni Culturali Macro ad per Nero_maggio2010_newwing.indd 12 02/05/11 10:14 Shave your style. “La vita è la tua tela.” Emil Kozak, 29, Artista Main partner: Effettua la scansione per vedere l’esclusivo Direzione artistica di: video di rasatura, stile e rifi nitura di Emil. Con il patrocinio di: www.braun.com/cruZer cruZer MYATELIER.NET BR110329-230x290-cruZerFaceEmil-nero.indd 1 29.03.11 15:14 Tano Festa – fRancesco Lo savIo THE LACK OF THE OTHER ZKM | Museum of Contemporary Art 7. May — 7. August 2011 www.zkm.de www.voltafootwear.it TOP WORLDWIDE STORES 10 CORSO COMO LIBERTY’S 290 SM SPORTIVO SHIPS CREATURES OF COMFORT Milan (IT) London (UK) Amsterdam (NL) Madrid (ES) Tokyo (JP) New York (USA) VIBSKOV LE BON MARCHÉ YOUR LE FORM LANE CRAWFORD OKI-NI Copenhagen (DK) / Oslo (NO) Paris (FR) Antwerpen (BE) Moscow (RU) Hong Kong (CN) online nero_volta_deer_canvas.indd 1 02/05/11 18.50 via fratelli cervi 66 – reggio emilia www.collezionemaramotti.org Giorgio Andreotta Calò Micol Assaël Neïl Beloufa Cezary Bodzianowski Anthony Burdin Hubert Duprat Christian Frosi Francesco Gennari Massimo Grimaldi João Maria Gusmão + Pedro Paiva Thomas Houseago 07.05.11–25.09.11 Victor Man Arte essenziale Pietro Roccasalva Karla Black Gianni Caravaggio Michael Sailstorfer Alice Cattaneo Hans Schabus Thea Djordjadze Shimabuku Jason Dodge Gedi Sibony Francesco Gennari Ian Kiaer Helen Mirra 07.05.11–31.07.11 Green White Red A Perfume of Italy in the Collection of Frac
    [Show full text]
  • 7731 Kazuo Yagi (1918 - 1979)
    7731 Kazuo Yagi (1918 - 1979) "WATER IS ......" A black clay ceramic plaque, mounted in a Perspex box frame Signed K. Yagui Japan, circa 1978* Dimensions: Ceramic plaque: H. 15cm x W. 18cm (6” x 7¼”) Frame: H. 31cm x W. 30cm x D. 5cm (12¼” x 12” x 2”) Special fitted box inscribed: Toban (ceramic plaque). Yagi Kazuo The geometric forms of the triangle, circle and square are universal and have been used to convey symbolic meanings throughout the ages. The three symbols were immortalised in a painting by the Japanese Zen monk Sengai Gibon (1750-1837). Sengai's simple painting of three fundamental forms has been interpreted as the embodiment of the universe and the essence of Zen enlightenment. These simple geometric forms can be read as the symbols of emptiness, void and infinity. Together with Earth, Fire, Air and Void, Water is one of Godai (Five Elements) that form the Universe – the belief originated in ancient India and has been incorporated into Japanese Buddhism. This philosophy has also been adapted to Buddhist architecture in Japan. For instance, a number of gorintō (five-ringed towers), the stupas that consist of the basic five sections: the earth ring (cube), the water ring (sphere), the fire ring (pyramid), the air ring (hemisphere) and the void ring (jewel-shape), can be found in Japanese Buddhist temples and Zen gardens. According to Laozi: “Water is fluid, soft, and yielding. But water will wear away rock, which is rigid and cannot yield. As a rule, whatever is fluid, soft, and yielding will overcome whatever is rigid and hard.
    [Show full text]
  • Born London 1955 Education 1968-72 Westminster School 1973-77 Magdalen College Oxford Qualifications a Levels: French, German
    JEREMY LEWISON Curriculum vitae Born London 1955 Education 1968-72 Westminster School 1973-77 Magdalen College Oxford Qualifications A levels: French, German, English Literature, Use of English S Levels: English MA: Modern History and Modern Languages (French) Diploma History of Art Employment 2002 to present Director, Jeremy Lewison Limited 1998-2002 Director of Collections, Tate Gallery 1996-7 Acting Keeper, Modern Collection, Tate Gallery 1990-96 Deputy Keeper, Modern Collection, Tate Gallery 1986-90 Assistant Keeper, Modern Collection and Head of Modern Prints, Tate Gallery 1983-6 Assistant Keeper, Modern Print Collection, Tate Gallery 1977-83 Curator, Kettle’s Yard, University of Cambridge Trusteeships Since 2009 Trustee of the Tricycle Theatre, Kilburn Since 2012 Trustee of Arnolfini, Bristol Chairmanship Since 2013 Tricycle Theatre Capital fundraising Committee Other Committees 1991– 2002 Board member of CIMAM (International Committee of ICOM for Museums and Collections of Modern Art) 2001-2 Member of CRASSH (Cambridge Research into the Arts Social Sciences and Humanities) Memberships Association of Art Historians AICA (International Association of Art Critics) Associate Member of the British Psychoanalytic Society CIMAM (International Committee of ICOM for Museums and Collections of Modern Art) Employment History Director, Jeremy Lewison Limited Jeremy Lewison Limited was formed in May 2002. Its principal activities are advising collectors, foundations and museums on building collections of Modern and Contemporary art; organizing international exhibitions and advising artists and artists’ estates. In addition, Jeremy Lewison, the director of the company, publishes books, catalogues and articles on a wide variety of subjects. Exhibitions organized since 2002: February 2004 major Ben Nicholson retrospective exhibition at the Museum of Modern Art, Hayama (touring to Nagoya and Tokyo).
    [Show full text]
  • Assis Chateaubriand, the Museu De Arte De São Paulo (MASP) and the Musee De Arte Moderna (MAM)
    Nelson A. Rockefeller and Art Patronage in Brazil after World War II: Assis Chateaubriand, the Museu de Arte de São Paulo (MASP) and the Musee de Arte Moderna (MAM) Zueler R. M. A. Lima, Ph.D. Associate Professor, School of Architecture Washington University in Saint Louis © 2010 by Zueler R. M. A. LIma [email protected] My research at the Rockefeller Archive Center looked for evidence of Nelson A. Rockefeller's involvement in the creation of art museums and cultural programs promoted by Brazilian philanthropists, particularly in São Paulo in the decade after the end of World War II. This research is part of the project for a comprehensive book about the work and life of Italian-born Brazilian architect Lina Bo Bardi (1914-1992) who, among other important buildings, designed the temporary and permanent facilities for the Museum of Art of São Paulo (MASP). The museum, co-founded in 1947 by Brazilian press magnate Assis Chateaubriand (1892-1968) and her husband, Italian art dealer and critic Pietro Maria Bardi (1900-1999), contains one of the most prestigious art collections in Latin America and pioneered the layout of modern museums and the concept of comprehensive art institutes based on North American and Bauhaus models. The archival material reveals that the creation of MASP was closely related with the creation of the Museu de Arte Moderna (MAM), and that both represented the aspirations of local elites in creating a modern, cosmopolitan culture in the city with the direct and indirect help of Nelson A. Rockefeller. This report aims at organizing specific and relevant material found at the Rockefeller Archive Center into a chronological narrative based on my broader research.
    [Show full text]