a Jakhe, a Klong jin, a Klong kaek

The music of Thailand reflects its geographic position at the intersection of China and India, and reflects trade routes that have historically included Persia, Africa, Greece and Rome. Thai musical instruments are varied and reflect ancient influence from far afield - including the klong thap and khim (Persian origin), the jakhe (Indian origin), the klong jin (Chinese origin), and the klong kaek (Indonesian origin).

Though Thailand was never colonized by colonial powers, pop music and other forms of modern Asian, European and American music have become extremely influential. The two most popular styles of traditional Thai music are luk thung and mor lam; the latter in particular has close affinities with the Music of Laos.

Aside from the Thai, ethnic minorities such as the Lao, Lawa, Hmong, Akha, Khmer, Lisu, Karen and Lahu peoples have retained traditional musical forms.

 

Botero`s lifes...

His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them.

Botero explains his use of these "large people", as they are often called by critics, in the following way:

"An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."

Botero is an abstract artist in the most fundamental sense, choosing colors, shapes, and proportions based on intuitive aesthetic thinking. Though he spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world.

In 2004 Botero exhibited a series of 27 drawings and 23 paintings dealing with the violence in Colombia from the drug cartels. He donated the works to the National Museum of Colombia, where they were first exhibited.

In 2005 Botero gained considerable attention for his Abu Ghraib series, which was exhibited first in Europe. He based the works on reports of United States forces' abuses of prisoners at Abu Ghraib prison during the Iraq War. Beginning with an idea he had on a plane journey, Botero produced more than 85 paintings and 100 drawings in exploring this concept and "painting out the poison." The series was exhibited at two United States locations in 2007, including Washington, DC. Botero said he would not sell any of the works, but would donate them to museums.

In 2006, after having focused exclusively on the Abu Ghraib series for over 14 months, Botero returned to the themes of his early life such as the family and maternity. In his "Une Famille" Botero represented the Colombian family, a subject often painted in the seventies and eighties. In his "Maternity", Botero repeated a composition he already painted in 2003, being able to evoke a sensuous velvety texture that lends it a special appeal and testifies for a personal involvement of the artist. Interestingly, the Child in the 2006 drawing has a wound in his right chest as if the Author wanted to identify him with Jesus Christ, thus giving it a religious meaning that was absent in the 2003 artwork.

In 2008 he exhibited the works of his The Circus collection, featuring 20 works in oil and watercolor. In a 2010 interview, Botero said that he was ready for other subjects: "After all this, I always return to the simplest things: still lifes."

History in Bangladesh

All non-official and official records of historical value are preserved in the National Archives. National Library is the legal depository of all new books and printed materials published in the country under Copy Right Law. The directorate is run by only one Director and two Deputy Directors with their respective physical infrastructure including own self reliant building and other logistics infrastructure like, Security personnel, technical manpower, Transport, Machinery, equipments, information resources, users group, service system, Act. International community, publications etc.

The present National Library was basically the Central Library of pre independence Bangladesh. It was established in 1967 as the part of the then National Library. After independence, this Central Library was turned and declared as the National Library of Bangladesh and started functioning on 6-11-1972 in Dhaka. The National Archives was formally set up in Dhaka after independence. In 1972 this twin national organizations were brought under one Directorate in the name of Directorate Archives and Libraries under the Ministry of Education, Sports and Culture Division. After the creation of Ministry of Cultural Affairs in 1988. The Sports and Culture Division including Directorate came automatically under the Ministry of Cultural Affairs for rapid development and florishment in the light of plan, policy and infrastructure of the government.
 

a Piano, such Piano!

Éric Alfred Leslie Satie (pronounced: [eʁik sati]) (17 May 1866 – Paris, 1 July 1925; signed his name Erik Satie after 1884) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.

An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American top culture chronicle Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.

The Lord God is in the Details

In 1935 Walter Benjamin showed how the original artwork loses its aura through mass reproduction – an observation that is particularly relevant in the age of the Internet. As the most famous painting in Cologne and the universal “trademark” of the city’s mediaeval painting tradition, this Madonna has been reproduced countless times. So how has the “Mona Lisa of Cologne” never the less managed to retain her aura?

The countless details cannot be appreciated in reproductions; they have to be viewed in the original. From the flowers at Mary’s feet to the musical instruments held by the angels, to the precious brooch and the heavenly crown, not forgetting the decorations in the golden background. And none of this was an end in itself: just look at the ornamentation worked into Mary’s halo: it is a simplified depiction of the lunar cycle and indicates the mediaeval link between astronomy and theology. The tiny brooch repeats the main image on a symbolic level, for it shows a virgin with a unicorn. The two are linked by their gestures in much the same way as Mary and the Baby Jesus – in an allusion to the “Mystic Wedding” between Christ and the Church. In addition comes the painting’s ingenious geometry based on the old Cologne Zoll (1 Zoll = 2.4 cm): this alludes to the connection between music and celestial architecture and denotes the modest bower as Paradise. At the same time the geometry of the bower symbolises the divine plan of salvation in which Mary and Christ play the lead roles.

Like a complex system of clockwork, the elements interlock to produce an extremely subtle theological statement. Behind a delightful overall impression, the artist has concealed a gigantic programme: the phases of history and course of salvation have been condensed in a wonderful way. And with that the painting remains untouched by our human calendar – and by the technology of reproduction.

Wallraf das Museum

a way to Kokoschka

Kokoschka was born in Pöchlarn. His early career was marked by portraits of Viennese celebrities, painted in a nervously animated style. He served in the Austrian army in World War I and was wounded. At the hospital, the doctors decided that he was mentally unstable. Nevertheless, he continued to develop his career as an artist, traveling across Europe and painting the landscape.


The house in which Oskar Kokoschka was born in Pöchlarn (August 2006)Kokoschka had a passionate, often stormy affair with Alma Mahler, shortly after the death of her four-year-old daughter Maria Mahler and her affair with Walter Gropius. After several years together, Alma rejected him, explaining that she was afraid of being too overcome with passion. He continued to love her his entire life, and one of his greatest works The Bride of the Wind (The Tempest), is a tribute to her. His poem Allos Markar  was inspired by this relationship. The poet Georg Trakl visited the studio while Kokoschka was painting this masterpiece. Kokoschka also commissioned a life-sized female doll in 1918.Although intended to simulate Alma and receive his affection, the gynoid-Alma did not satisfy Kokoschka and he destroyed it during a party.


1963-Deemed a degenerate by the Nazis, Kokoschka fled Austria in 1934 for Prague. There, his name was adopted by the Oskar-Kokoschka-Bund, founded by other expatriate artists, although he declined to otherwise participate (K. Holz, Modern German Art for Thirties Paris, Prague, and London: Resistance and Acquiescence in a Democratic Public Sphere). In 1938, when the Czechs began to mobilize for the expected invasion of the Wehrmacht, he fled to the United Kingdom and remained there during the war. With the help of the British Committee for Refugees from Czechoslovakia (later the Czech Refugee Trust Fund), all members of the OKB were able to escape through Poland and Sweden.

Kokoschka became a British citizen in 1946 and only in 1978 would regain Austrian citizenship. He traveled briefly to the United States in 1947 before settling in Switzerland, where he lived the rest of his life. He died in Montreux.

Kokoschka had much in common with his contemporary Max Beckmann. Both maintained their independence from German Expressionism, yet they are now regarded as its supreme masters, who delved deeply into the art of past masters to develop unique individual styles. Their individualism left them both orphaned from the main movements of Twentieth Century modernism. Both wrote eloquently of the need to develop the art of "seeing" (Kokoschka emphasized depth perception while Beckmann was concerned with mystical insight into the invisible realm), and both were masters of innovative oil painting techniques anchored in earlier traditions.

Kokoschka's last years were somewhat embittered, as he found himself marginalized as a curious footnote to art history. A noteworthy student of Kokoschka's "School of Seeing" was Konrad Juestel (1924–2001).

Kokoschka's literary works are as peculiar and interesting as his art. His memoir, A Sea Ringed with Visions, is as wildly psychedelic as anything written by others under the influence of actual hallucinogens.His short play "Murderer, the Hope of Women" (1909, set ten years later by Paul Hindemith as Mörder, Hoffnung der Frauen) is often called the first Expressionist drama. His Orpheus und Eurydike (1918) became an opera by Ernst Krenek, who was first approached for incidental music.
 

Ιπτάμενη Αλεπού

"A small scale research at the location where Johannes Vermeer was born in 1632 may illustrate this point. From a 1637 document it is known that his parents rented a house back in those days from Pieter Corstiaens'son Hopprus at Voldersgracht. Indeed the 1620-1632 "kohier van verponding" tax register does show a Pieter Corstiaens'son as an owner, of the third house east of the St Luke guild house [= Old Mens House]. This seems to correspond readily with present day Voldersgracht number 25.

However, when we search within that address in the databank, this Pieter does not come up at all. We do however find him in the archival sources for the present day houses at Voldersgracht 26 and 27. Obviously in the years 1620-1640 a number of changes have been going on just in the row of houses at Voldersgracht 23-27 concerning lot ownership and rebuilding. Plausibly some buildings have been joined and then split in other lots - or the other way around. Only extremely detailed research in the building history, the ownership of houses and the names of persons living in those houses might yield Vermeer's exact birth house location. Thus enough riddles are left over to provide whole generations of researchers a pleasant puzzle."

Vermeer's

Hear the Sun Sing...

Have you ever wondered what the Sun would sound like if you could hear it?
Our Sun lies 93,000,000 miles away, surrounded by the vacuum of space.
Sound won't travel through space, of course. But with the right
instrument, scientists can "hear" pulsations from the Sun.
The entire Sun vibrates from a complex pattern of acoustical waves,
much like a bell. If your eyes were sharp enough, you could see a
bell's surface jiggle in complex patterns as the waves bounced around
within it.

Likewise, astronomers at Stanford University can record acoustical
pressure waves in the Sun by carefully tracking movements on the Sun's
surface. To do this, they use an instrument called a Michelson Doppler
Imager (MDI), mounted on the SOHO spacecraft, circling the Sun
1,000,000 miles from Earth.

The Sun's acoustical waves bounce from one side of the Sun to the
other in about two hours, causing the Sun's surface to oscillate, or
wiggle up and down. Because these sound waves travel underneath the
Sun's surface, they are influenced by conditions inside the Sun. So
scientists can use the oscillations to learn more about how the
structure of the Sun's interior shapes its surface.

The Sun's sound waves are normally at frequencies too low for the
human ear to hear. To be able to hear them, the scientists sped up the
waves 42,000 times -- and compressed 40 days of vibrations into a few
seconds. What you'll be hearing are just a few dozen of the 10 million
resonances echoing inside the Sun.
http://solar-center.stanford.edu/singing/

Monastery brewhouses...

The Trappist order originated in the Cistercian monastery of La Trappe, France. Various Cistercian congregations existed for many years, and by 1664 the Abbot of La Trappe felt that the Cistercians were becoming too liberal. He introduced strict new rules in the abbey and the Strict Observance was born. Since this time, many of the rules have been relaxed. However, a fundamental tenet, that monasteries should be self-supporting, is still maintained by these groups.

Monastery brewhouses, from different religious orders, existed all over Europe, since the Middle Ages. From the very beginning, beer was brewed in French cistercian monasteries following the Strict Observance. For example, the monastery of La Trappe in Soligny, already had its own brewery in 1685. Breweries were only later introduced in monasteries of other countries, following the extension of the trappist order from France to the rest of Europe.

The Trappists, like many other religious people, originally brewed beer as to feed the community, in a perspective of self-sufficiency. Nowadays, trappist breweries also brew beer to fund their works and for good causes. Many of the trappist monasteries and breweries were destroyed during the French Revolution and the World Wars. Among the monastic breweries, the Trappists were certainly the most active brewers: in the last 300 years, there were at least nine Trappist breweries in France, six in Belgium, two in the Netherlands, one in Germany, one in Austria, one in Bosnia and possibly other countries.

Today, seven trappist breweries remain active, 6 in Belgium and 1 just over the Belgian border, in the Netherlands.

In the twentieth century, the growing popularity of Trappist beers led some brewers with no connection to the order to label their beers "Trappist". After unsuccessful trials, monks finally sued one such brewer in 1962 in Ghent, Belgium.

Pôle Muséal Lausanne

Allied Works was named one of eighteen international finalists to create the Pôle Muséal Lausanne, which encompasses transforming an historic train shed and industrial site into a new cultural district. The design was developed in collaboration with an international team of designers, including Latz+Partner for Landscape, Resnicow Schroeder Associates for Cultural Planning, and Nicolet Chartrand Knoll for Structural and Civil.

The forms and spaces of the new museum are both monumental and transparent. The building’s geologic form is fractured by activity, providing glimpses into and through the heart of the building. Ideal gallery proportions establish a rhythm of space and structure along the Arts Walk and rail lines. Between galleries, structure, circulation and light form fissures of transparency – filtering and diffusing light into the galleries, providing views to the landscape and city while connecting the building vertically.

Located at the critical intersection of landscape and infrastructure and adjacent Lausanne’s main train station, Allied Works’ proposal builds upon what exists to create a beacon and powerful new urban gateway, signifying the city’s social and cultural center and growth into an international city. The site becomes one interwoven precinct for the arts, engaging the principles of unity and celebrating the unique combination of cultural, public and landscaped space.

e Volo

for Kunst in Denmark

The Danish national gallery - Statens Museum for Kunst - is the only place in Denmark which features more than 700 years of Western art and cultural history under one roof. The museum houses a large collection of Danish and international paintings, sculptures, drawings, and installations.

Collections inside...

Room with a collection with Religious art – The Lydian Plain (Turkey) - Painting by Harald Jerichau 1851 – This masterwork was given to National Gallery by Brewer Carl Jacobsen in 1878.

The Crusader – Sketch for The Knight with the Falcon – a genuine Rembrandt – from 1659-61. 

Marvellous paintings in various categories of old famous and foreign masters from 1300-1800.

Broad collection with famous painters
The collection includes works by the Italian renaissance painters Tizian and Mantegna, the 17th century masters Rubens and Rembrandt, 19th century painters of the Danish Golden Age such as Eckersberg and Købke, and 20th century artists such as Henri Matisse, Edvard Munch, and Emil Nolde as well as the Danish artists Asger Jorn, Per Kirkeby and many more.


Collection with Danish painters – Scientific impressions.

Collection with Danish work of art – People and Nature.

Collection of masterpieces from the Danish Golden Age 1880-1900 – Paintings from famous Danish artists like C. W. Eckersberg – Michael Ancher - Christen Købke – P. S. Krøyer and many more. 

Grand entrance into the museum collections
The old museum building dates back to 1896 and was designed by the architect Wilhelm Dahlerup. The imposing building reflect several historical styles with a richly decorated facade and the impressive entrance, which makes for a solemn transition from the outside world into the museum collections.

Focus Gallery with modern art by Per Kirkeby – displaying nature and culture. 
The extension of the museum in 1998 has created significant exhibition space.

New modernist extension building
The 1998 extension has provided the museum with a significant - and much-needed - increase in the exhibition space available. The magnificent, modernist extension building is situated in parallel with Dahlerup's old museum building, opening the house up towards the surrounding parkland.
Location
The National Gallery is located beside the Botanical Gardens - Rosenborg Castle and near Nørreport Station.

Address
Statens Museum for Kunst
Sølvgade 48-50
1307 Copenhagen K

the Perfect Storm

Ήταν η καταιγίδα του αιώνα. Με κύματα πάνω από είκοσι μέτρα και άνεμο έντασης έντεκα μποφόρ. Οι μετεωρολόγοι την ονόμασαν απόλυτη καταιγίδα, γιατί απλώς δεν μπορούσε να γίνει χειρότερη. Ξέσπασε απροειδοποίητα τον Οκτώβριο του 1991 έξω από τις ακτές της Νέας Σκοτίας και στην καρδιά της βρέθηκε το αλιευτικό Αντρεα Γκέιλ: "Έρχεται, παιδιά, κι έρχεται φορτσάτη", ήταν τα τελευταία λόγια του καπετάνιου, προτού ο ασύρματος σιγήσει για πάντα...

...Και είδε το πόδι του Θεού στο πέλμα του αργαλειού,
και το είπε.
Και οι άλλοι ναύτες τον είπανε τρελλό...

Μια αληθινή ιστορία, όπου πρωταγωνιστεί ο σκληρός όσο και γοητευτικός κόσμος της αλιείας, αλλά και η ίδια η θάλασσα με το πιο σκοτεινό της πρόσωπο.

Η απόλυτη καταιγίδα

Η Απόλυτη καταιγίδα (1997), πρώτο βιβλίο του Αμερικανού δημοσιογράφου Σεμπάστιαν Γιούνγκερ, γνώρισε τεράστια εκδοτική επιτυχία στις ΗΠΑ, με πωλήσεις που ξεπερνούν τα τρία εκατομμύρια αντίτυπα, ενώ παρέμεινε επί 42 εβδομάδες στις λίστες με τα μπεστ-σέλερ των New York Times κι έχει ήδη μεταφραστεί σε 16 γλώσσες.

Με φόντο το ψαράδικο λιμάνι του Γκλόστερ στη Μασαχουσέτη, ο Σεμπάστιαν Γιούνγκερ αναπλάθει αριστοτεχνικά, με τρομακτική ζωντάνια, την αληθινή ιστορία των έξι ναυτικών του ΄Αντρεα Γκέιλ.
 

στην Ανάσα της Θάλασσας...

"Οι μεγάλοι ζωγράφοι, από τον Απελλή της αρχαιότητας ώσμε τον Picasso είπανε κουταμάρες.
Τα σωστά πράματα για τα χρώματα τα 'πανε κάτι έμποροι που τους τριγύριζαν.
Οι καλύτεροι δάσκαλοι είναι οι ζωγράφοι δίχως προσωπικότητα.
Η θάλασσα ...
Ο Turner ζωγράφισε την ανάσα της.
Πώς φαντάζεσαι το πράσινο χρώμα ρώτησα ένα κορίτσι τυφλό.
Πήρε ένα φύλλο ελιάς και το δάγκωσε.
Στυφό μου 'πε. Στυφό ...
Το κόκκινο, ρώτησα δειλά.
Το κόκκινο μου αποκρίθηκε το βλέπω. Μονάχα το κόκκινο.
Ο βλάκας εγώ νόμιζα πως γνωρίζει μοναχά το μαύρο.
Δύσκολο χρώμα το μαύρο.
Ο Δημήτρης λατρεύει το μαύρο. Κι εγώ. ..."

Απόσπασμα από γράμμα του Ν. Καββαδία στη Νίκη Καραγάτση, ζωγράφο και σύζυγο του αγαπημένου του φίλου Δημήτρη Καραγάτση (Μίτια)  στις 5/6/1953

Στον Σ.Μ με ευχές για πολλά Α και Χρόνια Πολλά
Μ.

in the Turkish Literature

The time that can be called contemporary in Turkish literature falls in the period between the middle of the 20th century and the first years of the new millennium. Throughout this period many changes in literary discourse have occurred. Together with the fall of the Ottoman Empire and foundation of the Turkish Republic brought a different way to Turkish literature together with the effect of Westernization on Turkish writers. The literature of the new republic emerged largely from the pre-independence National Literature movement, with its roots simultaneously in the Turkish folk tradition and in the Western notion of progress. One important change to Turkish literature was enacted in 1928, when Mustafa Kemal initiated the creation and dissemination of a modified version of the Latin alphabet to replace the Arabic-based Ottoman script. Over time, this change—together with changes in Turkey's system of education— would lead to more widespread literacy in the country. In 1950s, Turkish authors started to write in the tone of their western contemporaries bringing a new sense of literature to the country.

All of the salient aspects of Turkish life, politics and culture have found their direct or indirect expression in poetry, fiction, and drama, as well as in critical and scholarly writing. The themes and concerns have included nationalism, social justice, search for modernity. Westernization, revival of folk culture, economic and technological progress, human dignity, mysticism, pluralistic society, human rights and fundamental freedoms, democratic ideals, Ataturkism, Turanism, Marxist-Lenist ideology, revival of Islam, humanism in fact all aspect and components of contemporary culture found a voice in literature.

All stages of modern Turkish history (reforms under Atatürk, 1923-38; consolidation under Inonu, 1938-59; democracy under Menderes, 1950-60) have been marked by the thrust of literary modernization. Since the mid-nineteenth century, the most vital debate of Turkish literature has been between the proponents of art for art's sake and the advocates of commitment to realism and social causes. Mustafa Kemal in a conversation that took place in 1921, about two years before he proclaimed the Republic, exhorted the 19 years old Nazim Hikmet, already a famous poet, who would soon embrace the communist ideology and influence the course of modern Turkish literature, particularly poetry, more profoundly than anyone else. Since 1950, there has been a massive output, in all genres, depicting the plight of the lumpen proletariat. But surrealism, neosymbolism, theater of the absurd, stream of consciousness, hermeticism, black comedy and so on have also flourished.

Manet's painterly style

Music in the Tuileries is an early example of Manet's painterly style. Inspired by Hals and Velázquez, it is a harbinger of his life-long interest in the subject of leisure.

While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.

Α major early work is The Luncheon on the Grass (Le déjeuner sur l'herbe). The Paris Salon rejected it for exhibition in 1863 but he exhibited it at the Salon des Refusés (Salon of the Rejected) later in the year. Emperor Napoleon III had initiated The Salon des Refusés after the Paris Salon rejected more than 4,000 paintings in 1863.

The painting's juxtaposition of fully-dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving of the Judgement of Paris (c. 1515) based on a drawing by Raphael.

Two additional works that are cited by scholars as important precedents for Le déjeuner sur l'herbe are Pastoral Concert (c. 1510, The Louvre) and The Tempest (Gallerie dell'Accademia, Venice), both of which are attributed variously to Italian Renaissance masters Giorgione or Titian. The Tempest is an enigmatic painting that features a fully-dressed man and a nude woman in a rural setting. The man is standing to the left and gazing to the side, apparently at the woman, who is seated and is breastfeeding a baby; the relationship between the two figures is unclear.[4] In Pastoral Concert, two clothed men and a nude woman are seated on the grass, engaged in music making, while a second nude woman stands beside them.

The Hand of God

The Hand of God, modeled ca. 1896, this marble executed ca. 1907
Auguste Rodin (French, 1840–1917)
Marble
H. 29 in. (73.7 cm)
Gift of Edward D. Adams, 1908 (08.210)

Toward the end of his career, Rodin began to use giant hands in a series of original and idiosyncratic arrangements, with titles such as The Hand of God, The Hand of the Devil (1903), The Cathedral (1908), and The Secret (ca. 1910). The first of these represents divine creation expressed in terms of the sculptor's art: the rough stone is both primeval matter and the sculptor's medium; the smooth, white emerging forms held by the hand are the bodies of the first man and woman, while the great, life-giving hand itself is a symbol of the original Creator, and, perhaps quite literally, of the sculptor as well. The Hand of God was another of Rodin's works that has had wide appeal, and there are numerous versions of it, both in marble and in bronze. This marble was commissioned from Rodin in 1906 by one of the Metropolitan Museum's trustees.

Related

Source: Auguste Rodin: The Hand of God (08.210) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

the Best of Alaska to the World

The Anchorage Museum brings the best of Alaska to the world and the best of the world to Alaska.

Through a combination of art, history and science the Anchorage Museum creates a rich, deep understanding of the human experience and offers something for everyone.

Temciyusqaq
“Skeptical One”Giinaquq (Like A Face):
Sugpiaq Masks of the Kodiak Archipelago
Concluded Jan. 4, 2009

In the winter of 1872 a young French anthropologist named Alphonse Pinart traveled the Kodiak archipelago by kayak, assembling one of the most extensive collections of Alutiiq ceremonial masks in the world. In May, masks from Pinart’s collection returned to Alaska for the first time in 136 years to tell the Alutiiq story and inspire Alaskans to explore the rich culture of Kodiak’s Native people. Giinaquq features 34 wood masks and a bird-shaped feast bowl collected from villages around the Kodiak archipelago. The exhibition, six years in planning, will highlight the cultural meaning of these historic carvings as well as their beauty.

Courtesy National Museum of the American Indian, Smithsonian Institution Yuungnaqpiallerput (The Way We Genuinely Live)
Masterworks of Yup'ik Science and Survival
Concluded Oct. 26, 2008
The Way We Genuinely Live is a joint project of the Anchorage Museum and the Calista Elders Council, developed with the guidance of Yup'ik elders and educators and with major support from the National Science Foundation.

This exhibition presents more than 200 remarkable 19th and early 20th century tools, containers, weapons, watercraft and clothing in an exploration of the scientific principles and processes that allowed these people to survive in the sub-arctic tundra of the Bering Sea coast.

Sponsors of this exhibition include the National Science Foundation, Totem Ocean Trailer Express, Northern Air Cargo, Alaska Airlines, BP, ConocoPhillips Alaska, Calista Corporation and the Anchorage Museum Association.


LOCATION
Anchorage Museum at Rasmuson Center
625 C Street, Anchorage, Alaska 99501
(907) 929-9200 tel
(907) 929-9290 fax

WINTER HOURS
Mid-Sept through mid-May
10 a.m. to 6 p.m. Tuesday-Saturday
Noon to 6 p.m. Sunday
Closed Monday

SUMMER HOURS
Mid-May through mid-Sept
9 a.m. to 6 p.m. every day

Ethnology in Vietnam

The Vietnam Museum of Ethnology (Vietnamese: Bảo tàng Dân tộc học Việt Nam) is a museum in Hanoi, Vietnam, which focuses on the 54 officially recognized ethnic groups in Vietnam. It is located on a 3.27-acre (13,200 m2) property in the Cầu Giấy District, about 8 km from the city center.

It is widely considered to be the finest modern museum in Vietnam and a tourist attraction in Hanoi.

The proposal for the museum was officially approved on December 14, 1987. Construction lasted from 1987 to 1995, and it was opened to the public on November 12, 1997.

The exhibition building was designed by the architect Hà Đức Lịnh, a member of the Tày ethnic group, in the shape of a Dong Son drum, and the interior architecture was designed by the French architect Véronique Dollfus.

Opening hours is 8:30am to 5:30pm Tuesday to Sunday

Don't cry for me Argentina...

Argentine National Historical Museum (Spanish: Museo Histórico Nacional) is located in Buenos Aires, Argentina, and is a museum dedicated to the history of Argentina, exhibiting objects relating to the May Revolution and the Argentine War of Independence.
The institution was established as the Museo Histórico de la Capital (Historical Museum of the Capital) by Mayor Francisco Seeber on May 24, 1889.

The museum resulted from a proposal by historian Adolfo Carranza, who was designated director of the museum upon its inauguration on February 15, 1891. The museum was initially located on government property located at 3951 Santa Fe Avenue (now occupied by the Buenos Aires Botanical Garden). It was relocated to its present location in the San Telmo ward after the land's purchase by the Municipality of Buenos Aires in 1897. The land later occupied by the Botanical Garden was thus transferred to the municipal government, and the museum to the national government.

The mansion was originally built for English Argentine businessman Charles Ridgley Horne in 1846. Allied to the paramount Governor of Buenos Aires, Juan Manuel de Rosas, Ridgley Horne was forced into exile after the strongman's 1852 overthrow, and the land was sold to José Gregorio Lezama. Following his 1894 death, his widow, Ángela Álzaga de Lezama sold the property to the city, which converted the mansion into the museum, and most of the surrounding land into Lezama Park.

The museum houses over 50,000 items. Portions of the collection were gathered from donations of relatives of important figures in the May Revolution and the wars of independence. Other objects were part of the collection of the Public Museum (Museo Público) created in 1822 by Bernardino Rivadavia. Its displays include regalia, belongings, furnishings and documents belonging to José de San Martín, María de los Remedios de Escalada, Manuel Belgrano, William Carr Beresford, Juan Manuel de Rosas, Bartolomé Mitre, Juan and Eva Perón, and other Argentine, as well as foreign, statesmen, lawmakers, and military figures who played key roles in the nation's history. Its collection of history paintings includes works by Esteban Echeverría, Cándido López and Prilidiano Pueyrredón, among others.

Re-imagining

Διεθνές συνέδριο με τίτλο "Re-imagining the Past: Antiquity and Modern Greek Culture" διοργανώνει το Institute of Archaeology and Antiquity και το Centre for Byzantine, Ottoman and Modern Greek Studies του Πανεπιστημίου του Birmingham, στις 27 και 28 Ιουνίου 2011. Προθεσμία υποβολής περιλήψεων: 30 Ιουνίου 2010.

Για περισσότερες πληροφορίες:
http://www.iaa.bham.ac.uk/news/conferences/reimaginingthepast/in...