to Early Stages of space

The ‘Space Race Museum’ is a proposal designed by Islam Fikry Abbas from the Port Said University in Egypt for an a new museum dedicated to early stages of outer space exploration during the Cold War. It is the story of a race between the United States and the Soviet Union to conquest the last frontier.

The main concept of the project is to use architectural forms and spatial differentiation to represent the technological and political situation during those years. The organic forms are designed to make the visitors experience a sense of loss and continuity where ceilings and floors are one continuos entity. The museum is also an environmentally conscious design that incorporates photovoltaic cells, wind turbines, and water recollection systems. The landscape is carefully integrated to the museum to create a single harmonious structure.

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ΖαγοροΧρώματα...Αγέρωχα Σπίτια

Στέφανος Τσιόδουλος
Η Ζωγραφική των Σπιτιών του Ζαγορίου

Η παρούσα εργασία φιλοδοξεί να προσεγγίσει τη ζωγραφική των σπιτιών του Ζαγορίου ως στοιχείο της πολιτισμικής δραστηριότητας του ορεινού κόσμου και ως μέρος του επικοινωνιακού του συστήματος.

Αναλυτικότερα, επιδιώκει να αναδείξει την ιστορικότητα του φαινομένου της διακοσμητικής ζωγραφικής στο Ζαγόρι, όπως αυτό εκδηλώθηκε από τα τέλη του 18ου αιώνα έως την απελευθέρωση της Ηπείρου, το 1913.

Ο αναγνώστης μαθαίνει τους συντελεστές του φαινομένου (ιδιοκτήτες, τεχνίτες-ζωγράφους) και τους τρόπους που τα ιστορικά υποκείμενα και αντικείμενα συνέβαλαν στο επιχώριο επικοινωνιακό σύστημα,
τα τυπολογικά και μορφολογικά χαρακτηριστικά των τοιχογραφιών στα σπίτια του Ζαγορίου, που μας επιτρέπουν να εντάξουμε τις τοιχογραφίες της περιοχής σε ευρύτερες διακοσμητικές ομαδοποιήσεις, στο πλαίσιο μιας "ενιαίας" εικαστικής γλώσσας, όπως αυτή αναπτύχθηκε στους κόλπους της οθωμανικής αυτοκρατορίας και τέλος, την κοινωνική και ιδεολογική λειτουργικότητα του διακοσμητικού αυτού φαινομένου.

Η μνήμη αποτελεί ένα άλλο είδος ιστορικής αναπαράστασης μέσα από διαθλάσεις και προοπτικές χρόνου.

Αρχοντικά, ανώγεια, ασβεστωμένοι τοίχοι, χρώματα, κληρονομιά.

Θερμές Ευχαριστίες στον Σ.Μ
Μ.

Art in Art in Montevideo

Museums
Montevideo

Museo de Artes Decorativas

Museum of Decorative Arts, in the Palacio Taranco, built in 1910. European painting and decorative arts; ancient Greek and Roman art, Islamic ceramics of the 10th - 18th century from the area of present-day Iran. Address: 25 de Mayo 376 - C.P. 11100 Montevideo.

Museo Municipal de Bellas Artes Juan Manuel Blanes

Opened in 1930, artworks from Uruguay and abroad. The collection focuses mainly on work by Uruguayan artists Juan Manuel Blanes (1830-1901) and Pedro Figari (1861-1938). Temporary, art historical exhibitions. Address: Avenida Millán 4015 / 11700 Montevideo.

Museo Municipal de Bellas Artes Juan Manuel Blanes: visita

Paintings and information the collection's artists: Juan Manuel Blanes, Rafael Barradas, José Cúneo, Pedro Figari, Joaquín Torres García. Website by Artemercosur.

Museo Municipal de Historia del Arte

Originals and copies from various epochs of the history of universal art. Address: Calle Ejido,1326: 1er subsuelo. Montevideo. 

Museo Municipal Precolombino y Colonial

Collections: finds from excavations by Uruguayan archeologist Antonio Taddei; pre-Columbian art of Latin America; painting and sculpture from the 17th/18th century, primarily from Mexico, Peru and Brazil. Address: Calle Ejido,1326:1er subsuelo. Montevideo.

Museo Nacional de Artes Visuales

National Museum for Visual Arts, created in 1911. Most important collection of Uruguayan art. Organizes national and international exhibitions. Address: Julio Herrera y Reissig esq. Tomás Giribaldi, s/n / Parque Rodó / CP: 11300, Montevideo 

Museo Torres García

Preserves, exhibits, and disseminates the body of work by Joaquín Torres García, one of modern art's pioneers in Latin America. On the upper floors, in the Center for Modern Art, Uruguayan and foreign exhibitions are held, and seminars and art courses are offered. Address: Peatonal Sarandí 683, Montevideo. CP 11000.

Museo Virtual de Artes El País - MUVA

Virtual museum of contemporary Uruguayan art, sponsored by the daily newspaper El País, directed by curator and critic Alicia Haber. Presents exhibitions in virtual spaces, supplemented by information, biographies, texts. 

it's Blind. But you can Feel It...

Louis MacNeice
( 1907 –63 ), Blind Fireworks, Poems, Letters from Iceland, The Earth Compels, Autumn Journal

Though MacNeice's precocious first book, Blind Fireworks ( 1929 ), attracted little attention, he emerged in the early 1930s as a bright, sharp, intelligent, and sophisticated poet. He was conventionally ranked with his Oxford contemporaries Auden , Day Lewis , and Spender —and indeed often continues to be so ranked—but it should now be possible to see him in better perspective, relating him more interestingly to his Northern Irish background and upbringing, for example. His father was a senior clergyman in the Church of Ireland, a strict and brooding presence over the son, who often seems to have felt more at home in the less puritanical south of the island. Nevertheless, one has to bear in mind MacNeice's inherited, if deflected, notions of account-books and duty. There is also the fact of his conventional English public-school and Oxford education, in which he was both the rebel and the dandy.

Poems ( 1935 ), MacNeice's contributions to Letters from Iceland (prose and verse, written with Auden, 1937 ), and The Earth Compels ( 1938 ) all contain attractive and memorable poems and lines. But it was Autumn Journal ( 1939 ), written during the Munich crisis, that most brilliantly captures the essence of the best of MacNeice, not in miniature but at length. He had already shown a gift for sensing the temper of the time in such poems as ‘An Eclogue for Christmas’ (‘I meet you in an evil time’) and ‘Bagpipe Music’ (‘It's no go the merrygoround, it's no go the rickshaw’). Autumn Journal discursively reacts to the events of the moment, to his own public and private responses, and catches them all in a colloquial, flexible, argumentative, and yet relaxed mode which (as John Press has remarked) reminds one of Byron's Don Juan .

into Haiti space of Art

Artibonite artists

The painters of the Artibonite region in central Haiti, where Hopital Albert Schweitzer Haiti is located, have developed their own style, which is quite recognizable.

The style began with Saincilus Ismaël, the recently deceased great master of the region, who was influenced by Byzantine art he had seen in books. Ismaël began to paint in 1956 after visiting the Centre d’Art in Port-au-Prince. His paintings are marked by exquisite detail. Every article of clothing, house, or tree is painted with a different intricate geometric pattern.

Délouis Jean-Louis grew up in Petite Rivière under the influence of Ismaël. Although he worked under Ismaël for 15 years, he never had formal painting lessons. He began painting to make money, but gradually began to paint carefully executed scenes from his imagination.

Alix Dorléus also learned to paint with Ismaël and Mrs. Mellon. He paints all day long and will paint anywhere he feels the spirit to motivate him. His best paintings are detailed depictions, like activity maps, of daily life in the Artibonite Valley.

Ernst Louizor is considered one of the best impressionist painters of Haiti. Louzor was born in Port-au-Prince on October 16, 1938. After high school (Lycee Toussaint L'Ouverture '57) he worked in the tax section of Customs. Louizor's painting career began in 1951 when at the age of 13 he joined the Centre d’Art and studied under Wilmino Domond. He later entered the Academie des Beaux-Arts shortly after its founding in 1959 and furthered his studies with George Ramponeau. Louzior has many disciples including his wife Gerda Louizor. He has exhibited in Europe and the U.S..

Haitian sculpture"Haitian Sculpture" Haitian sculpture is made of natural materials, traditional art mediums, and recycled materials.

"Haitian Steel Drum Sculpture" The community of master artisans of Croix des Bouquets are a miracle in the midst of extreme poverty in Haiti. They create beautiful art out of recycled oil drums and in doing so are at the precipice of building sustainable incomes for their families and the community.

Haitian flag-makingThe tradition of making flags to decorate Vodou places of worship is well established. Flags most most often commemorate specific sprits or saints, but the 2010 earthquake has become a common subject. The use of sequins in these flags became prevalent in the 1940's, and many of today's flags cover the entire flag in colored sequins and beads. These flags are traded as art by dealers around the world.

To read the Sudanese

Sudanese Literature: North and South

Tayeb Salih

Recently, I’ve been trying to educate myself about literature from the Sudan(s). After all, her historic vote is just one small piece of the Sudan’s rich cultural history.

I imagine there are multiple Sudanese literatures: the Arabic-based literature (its most well-known practitioner being Tayeb Salih), as well as literatures in English (Leila Aboulela, Jamal Mahjoub) and local languages, such as Beja (known for its poetic traditions) and Dinka (perhaps Makwei Mabioor Deng will help spark a written tradition).

Certainly, if one had to name a Sudanese author in fewer than ten seconds, most of us would land on the great Tayeb Salih, who was on Denys Johnson-Davies well-known “Arabic Nobel shortlist” of 1988. Salih, who died in 2009, is celebrated in large part for his Season of Migration to the North, which was declared “the most important Arabic novel of the 20th century” by the Arab Literary Academy in Damascus.

Salih was also a big proponent of Arabic literature. From a 2005 interview with the Sudan Tribune:

If you find a publisher who believes in Arab literature and takes a risk on it, not just publishing a few thousand books, you will find readers for it.

The Arab novel has reached a very high standard which is comparable to any standard, anywhere in the world. The fact that this is not recognised abroad is a matter either of criteria … or it is a lack of enthusiasm for foreign products.

Other notable Sudanese authors who write in Arabic include Tarek al-Tayyeb, who was born in Cairo to Sudanese parents, and whose Cities Without Palms was translated by Kareem James Palmer-Zeid and published by AUC Press. It was a visually strong, although flawed, first novel, followed by The Palm House (reviewed here). Amir Tag el-Sir is another Sudanese author of note, on the 2011 International Prize for Arabic Fiction (IPAF) shortlist for his novel The Hunter of the Chrysalises.

Art, Light, Italy

The project for Milan’s new Museum of Contemporary Art is designed by Daniel Libeskind in cooperation with his Italian partner CityEdge. It features a vertical structure of five floors which twists from its square base and forms a circular terrace at the top. Its design references Da Vinci’s golden section, transforming in accordance to principles of self-evolution and spherical astronomy.

The most important design objective sought by city authorities and the designers was the greatest possible flexibility in order to respond to all of the, nowadays often unpredictable, needs of a space dedicated to contemporary art. This is why the five galleries of the new building are presented as stand-alone units, with a minimum height of 5.5m and equipped with complex lighting and air conditioning systems that make it possible to stage any type of exhibition while at the same time keeping the dominant line of the structure visible to the visitor, the square that becomes a circle, as it moves from the ground to the sky.

The building uses cutting-edge materials and building techniques with the objective of achieving the highest possible level of environmental compatibility. Enveloping the volume is a screen-like structure which visually speaking, enables the perception of the initial geometry of the building. The “screen” is formed by a series of bronze-colored varnished aluminium strips that also provide a great sense of lightness and luminosity.

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House of the Birds

The National Museum was established by the King of Portugal Dom João VI (1769–1826) in 1818 with the name of Royal Museum, in an initiative to stimulate scientific research in Brazil, which until then was an immense and wild colony, practically unexplored by science. Initially the Museum sheltered botanical and animal specimens, especially birds, what caused the old building where it was located in center of Rio de Janeiro, to be known by the population as the "House of the Birds".

After that, with the marriage of D. João VI's son and Brazil's first Emperor, Dom Pedro I (1798–1834) with Princess Leopoldina of Austria, the Museum started to attract the greatest European naturalists of the 19th century, such as Maximilian zu Wied-Neuwied (1782–1867), Johann Baptist von Spix (1781–1826) and Carl Friedrich Philipp von Martius (1794–1868). Other European researchers who explored the country, such as Augustin Saint-Hilaire (1799–1853) and the Baron von Langsdorff (1774–1891), contributed for the collections of the Royal Museum.

By the end the 19th century, reflecting the personal preferences of Emperor Dom Pedro II (1825–1891), the National Museum started to invest in the areas of the anthropology, paleontology and archaeology. The Emperor himself, who was an avid amateur scientist and enthusiastic supporter of all branches of science, contributed with several of the collections of the art of Ancient Egypt, botanical fossils, etc., which he acquired during many of his trips abroad. In this way, the National Museum was modernized and became the most important museum of Natural History and Human Sciences of South America.

D. Pedro II was well aware of the shortage of true scientists and naturalists in Brazil. He fixed this problem by inviting foreign scientists to come to work at the Museum. The first to come was Ludwig Riedel (1761–1861), a German botanist who had participated in Baron von Langsdorff's famed expedition to Mato Grosso from 1826 to 1828. Other scientists to come were: German chemist Theodor Peckolt and American geologist and paleontologist Charles Frederick Hartt (1840-1878). In the following years the Museum gradually became known so it continued to attract several foreign scientists who wished to achieve scientific stature with their work in Brazil, such as Fritz Müller (1821–1897), Hermann von Ihering (1850–1930), Carl August Wilhelm Schwacke (1848–1894), Orville Adalbert Derby (1851–1915), Émil August Goeldi (1859–1917), Louis Couty (1854–1884) and others, all fired by museum director Ladislau Netto when the emperor was deposed.


The National Museum at its first location in Campo de Sant'Anna, today's Praça da República, ca. 1870The Emperor was still a very popular figure when he was deposed by a military coup in 1889, so the republicans tried to erase the symbols of the Empire. One of these symbols, the Paço de São Cristóvão, the official residence of the emperors in the Quinta da Boa Vista, became vacant; therefore, in 1892, the National Museum, with all its collections, valuables and researchers, was transferred to this palace, where it stays until today.

In 1946, the Museum’s management was passed to the University of Brazil, currently the Federal University of Rio de Janeiro. The researchers and their offices and laboratories occupy a good part of the Palace and other buildings erected at Botanical Gardens (Horto Florestal), in the Quinta da Boa Vista park. There, one can find one of the largest scientific libraries of Rio. Currently, the National Museum offers graduate courses in the following areas: Anthropology and Sociology, Botany, Geology and Paleontology, and Zoology.

The Museum shelters one of the largest exhibits of the Americas, consisting of animals, insects, minerals, aboriginal collections of utensils, Egyptians mummies and South American archaeological artifacts, meteorites, fossils and many other findings.

a Madagascar's Museum

University of Madagascar's Museum of Art and Archaeology is a museum in Antananarivo, Madagascar. It is operated by the University of Madagascar and was established on January 27, 1970.

The museum aims to contribute to the teaching of Madagascar's art, archaeology and ancient civilization and stores ethnographic objects from all across the island. The repository contains around 7,000 objects and all regions and tribes are represented in the collection.

http://www.virtualmuseum.ca/

Marek's Way of Life

Marek Hłasko (14 January 1934 in Warsaw – 14 June 1969 in Wiesbaden, Germany) – a writer and a famous figure in post-war Polish literature.

Hłasko’s biography is highly mythologized, and many of the legends about his life he spread himself. Marek was born in Warsaw, as the only son of Maciej Hłasko and Maria Łucja, née Rosiak . At first he lived with his parents in Złotokłos; later they moved to Warsaw. In the Hłasko family, children were baptised relatively late, hence the writer-to-be was baptized on 26 December 1935 in the Church of the Holy Redeemer in Warsaw [2]. It is said that during the baptism ceremony when asked if he renounces the evil spirits Marek answered "No". Later, these words were reported as the evidence of Marek’s strong character.

Hłasko was three years old when his parents divorced in 1937. Maciej remarried a year later. He died on 13 September 1939, when his only son was five. The war left its stamp on Marek’s psyche: later he wrote "it is obvious to me that I am a product of war times, starvation and terror; it is the reason for the intellectual poverty of my short stories. Simply, I cannot think up a story that does not end in death, catastrophe, suicide or imprisonment. Some people accuse me of pretending to be a strong man. They are wrong." At the outbreak of World War II, Hłasko’s mother was working in the management secretariat of the City Power Station in Warsaw. During the occupation she was fired and ran a food stall till the beginning of the Warsaw Uprising. As a result, the family's financial situation worsened. At this time Marek started his education; however, all documents that might provide information about his education were destroyed during the Warsaw Uprising. Among the schools that he attended was one near the St. Kazimierz Factory on Tamka Street. During the Warsaw Uprising, Marek stayed with his mother in Warsaw, and when it ended they moved to Częstochowa to the house of a friend. In March 1945, Maria and her son moved to Chorzów and two months later to Białystok, where she settled with Kaziemierz Gryczkiewicz. In early 1946, Gryczkiewicz, Maria Hłasko and Marek moved to Wrocław.

In the summer of 1946, Marek Hłasko joined the Bolesław Chrobry First Wrocław Scout Troops. In order to become a member of the troop, Marek with his family’s consent, gave 1933 as the year of his birth. Later he was dismissed from the scouts because of the poor attendance at the meetings. Marek worked as a messenger at the World Congress of Intellectuals for Peace, held in August 1948 in Wrocław.
 
From September to November 1948, he studied at the Chamber of Commerce’ of the Secondary School of Business and Administration in Wrocław, and from March until June 1949 in the Labour Association of Children Friends’ School in Legnica (at that time he lived in a dormitory). Later, from December 1949 to January 1950, he attended the Technical and Drama High School in Warsaw, yet, in the end of December 1949 and early January 1950, he was expelled for "a notorious disrespect to school regulations, criminal violations, and wielding a corrupting influence on his colleagues".
 
Writing became a chance to get out of this mind-numbing activity. His literary career started in 1951 when he wrote Baza Sokołowska, his first set of short stories. Hłasko became a correspondent for Trybuna Ludowa (a popular Polish daily) when he was working for "Metrobudowa". At the end of 1952 he decided to show extracts of his book to Bohdan Czeszko. His reply letter written on 3 December of the same year included a criticism of Hłasko’s literary attempts, but also drew attention to the young author’s talent. Moreover, also in 1952, Hłasko followed Stefan Łoś’s advice and established contact with the Polish Literary Association and Igor Newerly, who was the protector of young writers. Hłasko introduced himself, to both Czeszko and Newerly, as "an uneducated driver who tries to describe his life in his free time after work".

He gained publicity and popularity thanks to his original working style as well as his unconventional behaviour and clothing. He was a legendary figure of the young generation, a symbol of non-conformism. He was well-built; however, the physical appearance concealed over-sensitivity and uncertainty. He was prone to depression and could not adapt to everyday reality. Marek’s inclination to rows contrasted with his friends’ positive opinions of him.

In 1958, he went to Paris. The press there called him an Eastern European James Dean, as Hłasko strikingly resembled him. Marek really identified himself with this role: he vandalized pubs and restaurants. At this time, he gained worldwide publicity. Nonetheless, he liked the life of a vagrant, so he left Paris and went to Germany and then to Italy.

The anticommunist edition of Cmentarze in Parisian paper Kultura launched a press campaign against him. When Marek was refused a renewal of his passport, he asked for political asylum in the Western Germany. After three months, he changed his mind and tried to return to Poland. However, while waiting for an answer from the Polish government, he decided to go to Israel in 1959. He could not live without Poland but at the same time he could not return to his homeland. As he did not have a talent for languages, he found it difficult to adjust to the reality of life abroad. He led a life of a vagrant, but he did not have to work while his publications provided him with a steady income. He performed manual labour, but he did so out of curiosity rather than need. Since 1960, he had lived in Germany with his beautiful wife, a German actress, Sonja Ziemann.

In 1963, he spent a month in prison for his feuds with the police. In 1964 he twice attempted to commit suicide. Between 1963 and 1965, he spent a total of 242 days in psychiatric clinics. In 1965, he divorced his wife and in 1966, with some help of Roman Polanski, he went to Los Angeles. He was supposed to write screenplays but it did not work out. He had an affair with Betty, a wife of Nicholas Ray, the author of Rebel Without a Cause, and thereby ended his career as a screenwriter. He got a pilot’s licence instead.

In 1969, during one of his parties, he fell out with Krzysztof Komeda. As a result of this accident, Komeda got a brain hematoma and died few days later. Hłasko was to say: "If Krzysztof dies, I'll go along" (Jeśli Krzysio umrze, to i ja pójdę). In 1969, he came back to Germany.

He died in Wiesbaden at the age of 35. The circumstances of his death remain unknown. One hypothesis is that he mixed alcohol with sedative drugs. However, those who knew him maintain that suicide was out of the question in his case.

In 1975, his ashes were brought to Poland and buried at Powązki Cemetery in Warsaw. Jan Himilsbach, a stonecutter who worked at the cemetery, was an initiator of bringing Hłasko’s body back to Poland. Himilsbach carved inscriptions on Hłasko’s grave. The notice was suggested by Hłasko’s mother and it says: "His life was short, and everybody turned their backs on him".