Kend Din Region: MUSEER OG VANDRINGER I MIDTJYLLAND
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Human Remains, Museum Space and the 'Poetics of Exhibiting'
23 — VOLUME 10 2018 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL Human remains, museum space and the ‘poetics of exhibiting’ Kali Tzortzi Abstract The paper explores the role of the design of museum space in the chal- lenges set by the display of human remains. Against the background of ‘embodied understanding’, ‘multisensory learning’ and ‘affective distance’ and of contextual case studies, it analyses the innovative spa- tial approach of the Moesgaard Museum of the University of Aarhus, which, it argues, humanizes bog bodies and renders them an integra- tive part of an experiential, embodied and sensory narrative. This allows the mapping of spatial shifts and new forms of engagement with human remains, and also demonstrates the role of university museums as spaces for innovation and experimentation. 24 — VOLUME 10 2018 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL Introduction and research question This paper aims to explore the issue of the respectful presentation of human physical remains in contextual exhibitions by looking at the role of museum space in the challenges set by their display, with particular reference to the contribution of experimentation in the university museum environ- ment. The debate raised by the understanding that human remains “are not just another artefact” (stated by CASSMAN et al. 2007, in GIESEN 2013, 1) is extensively discussed in the literature, and increasingly explored through a range of museum practices. In terms of theoretical understanding, authors have sought to acquire an overall picture of approaches towards the care of human remains so as to better understand the challenges raised. For example, among the most recent publica- tions, O’Donnabhain and Lozada (2014) examine the global diversity of attitudes to archaeological human remains and the variety of approaches to their study and curation in different countries. -
Our View from City Tower
Our view from City Tower A sustainable and grandiose building overlooking Aarhus. Welcome to the top of City Tower, which is Aarhus’s tallest and most prominent commercial building with a fantastic view. The construction of the building was completed in the summer of 2014. In August 2014, our 130 Aarhus employees moved into the premises totalling 4,500 m2 and occupying the 14th, 15th, 16th and 22nd floors of the building. City Tower spans a total of 34,000 m2 divided on 25 floors – the two bottom floors housing the cellar and the under- ground parking area. In addition to Bech-Bruun, City Tower also accommodates the employer Hans Lorenzen, the Comwell Hotel and the audit and consultancy firm Deloitte. World-class sustainable building amusement park Tivoli Friheden, the City Tower is the very first commercial Moesgaard Museum and Marselisborg building in Aarhus to meet the strict Palace. 2015 requirements for energy rating 1. To the east: The Port of Aarhus The building’s energy rating indicates The Port of Aarhus is among Denmark’s how many kWh are spent annually on largest commercial harbours and heating, ventilation, cooling and hot spans the horizon to the east. water per m2. At City Tower, integrated solar power cells have for example In 2013, 6,100 ships called at the Port, been installed on the south face, sup- and each year approx. 8m tonnes of plying energy to the building annually cargo pass through the Port of Aarhus. generating up to 180,000 kWh. The Port of Aarhus has a terminal for cruise ships, and the passenger ferry City Tower has also been granted the Mols-Linien also docks here. -
Janet Cardiff & George Bures Miller
JANET CARDIFF & G. B. MILLER page 61 JANET CARDIFF & GEORGE BURES MILLER Live & work in Grindrod, Canada Janet Cardiff Born in 1957, Brussels, Canada George Bures Miller Born in 1960, Vegreville, Canada AWARDS 2021 Honorary degrees, NSCAD (Nova ScoOa College of Art & Design) University, Halifax, Canada 2011 Käthe Kollwitz Prize, Akademie der Künste, Berlin, Germany 2004 Kunstpreis der Stadt Jena 2003 Gershon Iskowitz Prize 2001 Benesse Prize, 49th Venice Biennale, Venice, Italy Biennale di Venezia Special Award, 49th Venice Biennale, Venice, Italy 2000 DAAD Grant & Residency, Berlin, Germany SELECTED INDIVIDUAL EXHIBITIONS 2019 Janet Cardiff & George Bures Miller, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico 2018-2019 Janet Cardiff & Geroge Bures Miller: The Instrument of Troubled Dreams, Oude Kerk, Amsterdam, The Netherlands 2018 Janet Cardiff & George Bures Miller: The Poetry Machine and other works, Fraenkel Gallery, FRAENKELGALLERY.COM [email protected] JANET CARDIFF & G. B. MILLER page 62 San Francisco, CA FOREST… for a thousand years, UC Santa Cruz Arboretum and Botanic Garden, Santa Cruz, CA Janet Cardiff & George Bures Miller: Two Works, SCAD Art Museum, Savannah, GA 2017-18 Janet Cardiff & George Bures Miller, 21st Century Museum of Contemporary Art, Kanazawa, Japan 2017 Janet Cardiff: The Forty Part Motet, Switch House at Tate Modern, London, England; Nelson Atkins Museum of Art, Kansas City, MO; Mobile Museum of Art, Mobile, AL; Auckland Castle, Durham, England; TRAFO Center for Contemporary Art, Szczecin, Poland -
Købmandsslægten Bech I Århus – Et Bidrag Til Byens Bygnings- Og Personalhistorie
Købmandsslægten Bech i Århus – et bidrag til byens bygnings- og personalhistorie Af Jan Wibrand Indledning og baggrund – står nu i Den gamle By under navnet Det vil være en del bekendt, at der i det Marcus Bechs gård eller Renæssancegår- centrale Århus mellem Badstuegade og den – en betegnelse, der refererer til, at Volden indtil for knap 100 år siden stod en købmandsgårdens ældste dele stammede meget stor købmandsgård, der oprindelig fra slutningen af 1500-årene og er byg- var to købmandsgårde. Denne var fra ca. get af svært egetømmer i bindingsværk 1825-1907 ejet af to generationer Bech. og med profilerede knægte (bjælkeender), En ganske lille del af denne købmands- der er prydet med bladudsmykning mel- gård – en del af længen mod Badstuegade lem første og andet stokværk. Men den Marcus Bechs gård. Facade mod Badstuegade. Efter postkort ca. 1900. 61 blev opført mange, mange år, før Marcus Egentlig er der tale om to slægtsgrene Galthen Bech den ældre overtog gården. med efternavnet Bech, der fra omkring Men hvor stammede denne Marcus 1720 og 200 år frem i tiden fungerede Galten Bech den ældre (1795-1863) og som købmænd i Århus. Begge disse grene hans 2 sønner Marcus Galthen Bech den stammede fra de samme aner på femø i yngre (1840-1918) og Oluf Bech (1830- Smålandshavet. En fælles ane var fæste- 1905) fra? Disse to sønner overtog køb- gårdmand Niels Hansen. mandsgården i 1863 efter faderens død. fæstegårdmanden på femø havde en i det følgende vil jeg redegøre for de søn i sit andet ægteskab (han var gift af Marcus Bechs aner og slægtninge, der tre gange), der fik navnet Knud Niel- har været købmænd i Århus og søge at sen. -
Drifttilskud Museer 2021
MUSEUMSNAVN ÅR TILSKUD I ALT Arbejdermuseet 2021 5.808.555 ARKEN Museum for Moderne Kunst 2021 31.687.053 ARoS Aarhus Kunstmuseum 2021 2.080.556 Billund Museum 2021 1.125.109 Bornholms Kunstmuseum 2021 1.012.073 Bornholms Museum 2021 1.512.073 Brandts 2021 2.258.478 Danmarks Tekniske Museum 2021 5.983.863 Dansk Jødisk Museum 2021 3.012.073 De Danske Kongers Kronologiske Samling 2021 9.016.901 De Kulturhistoriske Museer i Holstebro Kommune 2021 5.651.279 Den Gamle By Danmarks Købstadmuseum 2021 8.632.807 Designmuseum Danmark 2021 15.671.064 Energimuseet 2021 1.915.737 Esbjerg Kunstmuseum 2021 1.147.197 Faaborg Museum 2021 1.012.073 Fiskeri-& Søfartsmuseet 2021 4.754.230 Frederiksberg Museerne 2021 1.012.073 Fuglsang Kunstmuseum 2021 3.717.237 Furesø Museer 2021 1.012.073 Gammel Estrup - Herregårdsmuseet 2021 3.863.355 Give-Egnens Museum 2021 1.012.073 Glud Museum 2021 1.589.797 Greve Museum 2021 2.063.478 HEART Herning Museum Of Contemporary Art 2021 1.423.527 Helsingør Kommunes Museer 2021 1.012.073 Historie & Kunst 2021 1.946.741 Holstebro Kunstmuseum 2021 1.399.756 Industrimuseet Frederiks Værk 2021 1.012.073 Industrimuseet Horsens 2021 1.218.066 J.F. Willumsens Museum 2021 1.100.493 Kastrupgårdsamlingen 2021 1.012.073 Kroppedal Museum 2021 5.155.135 Kunsten Museum Of Modern Art, Aalborg 2021 2.566.687 Kunstmuseet Trapholt 2021 2.132.633 KØN – Gender Museum Denmark* 2021 517.207 KØS - Museum For Kunst I Det Offentlige Rum 2021 2.246.968 Langelands Museum 2021 1.317.613 Lemvig Museum 2021 1.163.607 Limfjordsmuseet 2021 1.100.204 Louisiana -
Borgmestergården – 100 År I Den Gamle By
Borgmestergården – 100 år i Den Gamle By Af Niels Meyer og Mathilde Schødt Veland I 100-året for Borgmestergårdens åbning i Den Gamle By kaster nye bygningsarkæologiske undersøgelser lys over gårdens histo- rie, hvor dele af bindingsværket kan dateres til middelalderen. Hovedresultaterne sammenfattes her af bygningsarkæolog, cand. mag. Mathilde Schødt Veland, som står bag undersøgelsen, samt bygingschef, arkitekt maa. Niels Meyer. Borgmestergården kender de fleste som en af de store køb- mandsgårde i Den Gamle By, men bygningen er meget mere end det – det er selve begyndelsen på Den Gamle By. Peter Holm havde stor succes med “Den Gamle Borg- mestergaard” på Landsudstillingen i 1909, og det gav ham rygstød til i 1914 at flytte hele huset en gang mere, til hvor det står i dag, og hvor det nu i 100 år har formidlet dansk boligkultur fra renæssancen til midten af 1800-tallet. Men det at flytte huse og rekonstruere historiske helheder var ab- solut ikke anerkendt i datidens museumskredse. Både Natio- nalmuseets direktør, Sophus Müller og formanden for Aarhus Museum, Konsul Frederik Ollendorff var imod projektet. Borgmestergården er bygget om Ollendorff udtalte faktisk, at det eneste bevaringsværdige flere gange. Peter Holm valgte ved genopførelsen i Den Gamle ved Borgmestergården, var porthammeren med indskrift og By 1914 at lade den fremstå, årstal, og at det øvrige kunne blive til “pindebrænde”. Sophus som den var i renæssancen. Müller kaldte svalegangen en imitation, fordi brædderne, han stod på, ikke var fra 1597. Heldigvis var der andre, der så potentialet og gav støtte til Holms projekt. Derved lykkedes det at bevare et enestå- ende eksemplar af renæssancens store bygårde fra Aarhus. -
ODM's Formidlingsseminar 2020 Navn: Institution: Amer Mahmutovis
ODM's formidlingsseminar 2020 Navn: Institution: Mail: Amer Mahmutovis Lego House Anders Bank Lodahl Rudersdal Museer [email protected] Andreas Tolstrup Nationalmuseet [email protected] Ane Bjerg Thomsen Skagens Kunstmuseer [email protected] Ane Bysted Museet på Sønderskov [email protected] Ane Damgaard Jepsen Østfynsmuseer - Vikingemuseet Ladby [email protected] Anja Lemcke Stær HEART Herning Museum of Contemporary art [email protected] Anna Back Larsen Fonden Danmarks Jernbanemuseum [email protected] Anna Louise Siggaard Billund Kommunes Museer [email protected] Anne Bay Noer Kunsten Museum of Modern Art Aalborg [email protected] Anne Cathrine Lorentzen Museet på Sønderskov [email protected] Anne Katrine Gjerløff Statens Naturhistoriske Museum [email protected] Anne Kleberg ULF I Aarhus/Børnekultuthuset [email protected] Annebelle Nielsen En Hemmelig Klub [email protected] Astrid Lystbæk Andersen Lyngby-Taarbæk Stadsarkiv [email protected] Bente Sonne Museum Sønderjylland [email protected] Berit Jakobsen Hempel Glasmuseum [email protected] Birgit Pedersen ARoS Aarhus Kunstmuseum [email protected] Birgitte Damkjer Den Gamle By [email protected] Birgitte Hjort Museum Sønderjylland [email protected] Bodil Jakobsen Museet Herregården Hessel [email protected] Brit Vestergaard Museum Midtjylland [email protected] Britt Caroline Juul Ny Trelleborg - Sekretariatet [email protected] Camilla Klitgaard Laursen Den Hirschsprungske Samling [email protected] Camilla Mehl Naturhistorisk Museum [email protected] Carsten Niss Østsjællands -
WINGATE Final.Pdf
ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Ealan Wingate Columbia Center for Oral History Research Columbia University PREFACE The following oral history is the result of a recorded interview with Ealan Wingate conducted by Sara Sinclair on April 23, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Transcription: Audio Transcription Center Session #1 Interviewee: Ealan Wingate Location: New York, New York Interviewer: Sara Sinclair Date: April 23, 2015 Q: This is Sara Sinclair with— Wingate: Ealan Wingate. Q: Today is April the twenty-third and we are at Columbia University [New York]. Okay. So, as I was explaining, with these oral histories we like to start with a little bit about you. So if you could begin by just telling me where and when you were born and a little bit about your early life, some of your early memories. Wingate: Okay. I was born in Tel Aviv, Israel in 1948. My father as well was Israeli born. My mom was born in New York State, up in Syracuse, but because her parents wanted to raise the children in Palestine, everyone left in the late thirties to go there. We returned to the United States in 1952, when I was four, so that my mother could be with her mother a little bit more and my father could start a new life, away from the family business and various other things that had embroiled him. -
Katalog 2008.Pdf
Billedkunstner Anders Visti Åbne værksteder • 4.-5. oktober ’08,kl. 11-17 • www.midtikunsten.dk ÅrhusÅrhuhus Udgiver: Region Midtjylland Regional Udvikling Oplevelsesøkonomi og landdistrikter Skottenborg 26 8800 Viborg Tlf.: 8728 5000 Mail: [email protected] www.midtikunsten.dk Lay-out: Grafi sk Service • 4400-08-125 Tryk: Unitryk Forsideillustration: Billedkunstner Anders Visti ISBN 87-7788-176-1 Oplag: 14.000 Viborg 2008 Indhold Forord ............................................................................................... 4 Favrskov ........................................................................................... 6 Hedensted ....................................................................................... 8 Herning ............................................................................................ 9 Holstebro ......................................................................................... 10 Horsens ............................................................................................ 11 Ikast-Brande ................................................................................... 14 Lemvig .............................................................................................. 16 Norddjurs ........................................................................................ 19 Odder ................................................................................................ 22 Randers ........................................................................................... -
Jeppe Hein Full
JEPPE HEIN BORN 1974 Copenhagen Lives and works in Copenhagen / Berlin EDUCATION 1999 Städelschule, Hochschule für Bildende Künste, Frankfurt am Main 1997 Royal Danish Academy of Arts, Copenhagen SOLO EXHIBITIONS 2021 “Space in Action. Action in Space”, Das Lenbachhaus, Munich, Germany “Your Light is the Light in Me”, Galleri Nicolai Wallner, Copenhagen, Denmark “kunst findet stadt - Jeppe Hein”, Kurgarten Baden-Baden, Germany “YOU MAKE ME SHINE”, KÖNIG SEOUL, MCM HAUS, Seoul, Korea 2020 “All Your Wishes”, Terminal B At La Guardia Airport, Queens, NY “Nothing is as it appears”, KÖNIG GALERIE, St. Agnes, Chapel, Berlin, Germany “Circular Appearing Rooms”, Bundeskunsthalle Bonn, Germany “Today I feel like”, Schirn Kunsthalle, Frankfurt, Germany 2019 “Breathe With Me”, UN Headquarters and Central Park, New York, NY “I AM WITH YOU”, 303 Gallery, New York, NY “Behind Hein”, König Galerie, Dessauer Strasse, Berlin, Germany “Change Yourself”, Politiken Forhal, Copenhagen, Denmark “Intervention Impact”, artconnexion, Lillie, France “Jeppe Hein”, SCAI Park, Tokyo, Japan 2018 “IN IS THE ONLY WAY OUT”, Cisternerne, Copenhagen, Denmark “Inhale – Hold – Exhale”, Kunstmuseum, Thun, Switzerland 2017 “Don’t Expect Anything – Be Open to Everything”, König Galerie, Berlin, Germany “Your Way”, Château La Coste, Le Puy-Sainte-Réparade, France “Distance”, Sørlandets Kunstmuseum, Kristiansand, Denmark “Festival of Love, Modified Social Benches NY”, Southbank Centre, Festival Terrace & Queens Walk, London, UK “At sanse verden i dig selv”, Museet for Religiøs -
Updating Den Gamle by and Focusing on Being an Inclusive Museum THOMAS BLOCH RAVN*
02 / 2017 www.camoc.icom.museum MUSEUMS OF CITIES REVIEW ISSN 2520-2472 Updating Den Gamle By and Focusing on Being an Inclusive Museum THOMAS BLOCH RAVN* Den Gamle By was made as an open-air museum for the preindustrial towns and cities. ©Den Gamle By In 1914, Den Gamle By opened as the world’s first According to the Danish Museum Act, Den Gamle By is open-air museum for urban cultural history. Today the a museum with a designated and outstanding collection museum consists of 80 historic houses from 26 towns also housing comprehensive, national collections and and cities across Denmark, with homes, workshops and exhibitions of different kinds of artefacts. shops, different public institutions and historical gardens. When Den Gamle By and other first-generation open- * Thomas Bloch Ravn, Museum Director, Den Gamle By air museums emerged in the decades around 1900, CONTENTS 01 Updating Den Gamle By and Focusing on Being an 19 Leiria Museum: 100 years of constructing a museum for all Inclusive Museum 22 Building City Museums – a seminar in Lahore, Pakistan 05 The Chair’s Note 24 City Museums in Portugal 06 MAAT, a New Museum in Lisbon 26 CAMOC Annual Conference, Mexico 2017 10 Between Locality and Remembrance 30 Museum, a Place for Intercultural Dialogue: 12 Penelope Wehrli – Experimenting with ways to Multilingual tour by immigrants in the National exchange ideas about the society we want to live in Taiwan Museum 16 Museum Trip: Social inclusion program for children 33 Exhibition Alert with overseas roots 35 Conference Alert 1 NEW RESEARCH TERRITORIES become more sustainable, resilient and robust. -
City Portraits AARHUS 365
364 City portraits AARHUS 365 Kathrine Hansen Kihm and Kirstine Lilleøre Christensen History and general information One of the oldest nations in Europe, the Kingdom of Denmark is today a constitutional monarchy as well as a modern Nordic welfare state. Aarhus is located in Central Denmark on the eastern side of the Jutland peninsula. Jutland is the only part of Denmark that is connected to the mainland of Europe as 41% of the country consists of 443 named islands. The capital Copenhagen is on the island Zealand (Sjælland in Danish), which is 157 km south-east of Aarhus measured in a straight line and 303 km when driving across the island2 Funen (Fyn in Danish). Aarhus has 242,914 inhabitants2 in the urban area (of 91 km ) and 306,650 in the municipal area (of 467 km ). Aarhus is the second largest city in Denmark not only measured in size, but also in the extent of trade, education, industry and cultural activities. The main employers of Aarhus are the Aarhus Municipality and the Aarhus University Hospital. th Aarhus originated in the 8 century from a Viking settlement, which was built around Aarhus River and still marks the centre of town and laid the foundation for the major industrial port that Aarhus has today. Many old buildings in the city have been preserved, for example, the Aarhus Custom House (Toldkammeret), the Aarhus Theatre (Aarhus Teater), Marselisborg Palace (Marselisborg Slot) and the Aarhus Cathedral, which represent historic landmarks across the city. Aarhus is a pulsating city offering a broad range of educational institutions and a vibrant and active student life.