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QUEM FAZ O QUÊ: GLOSSÁRIO
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The glossary of terms related to the active players in an artwork/construction in azulejo is the result of the workshop that ended AzLab#33. In it, a debate was promoted on the definitions below. These are not only operative tools used in the Az Infinitum – Azulejo Reference and Indexing System, but they are also a part of the ongoing Az.Thesaurus Project developed by the Rede de Investigação em Azulejo in partnership with the National Azulejo Museum.O glossário de termos relacionados com os intervenientes activos numa obra em azulejo resulta do workshop que encerrou o AzLab#33, no contexto do qual se dinamizou um debate sobre as definições terminológicasque a seguir se apresentam. Estas constituem não apenas uma ferramenta operativa usada no Az Infinitum – Sistema de Referência e Indexação de Azulejo, mas integram o projecto em curso Az.Thesaurus, desenvolvidopela Rede de Investigação em Azulejo em parceria com o Museu Nacional do Azulejo
FIGURAÇÃO DAS SIBILAS COMO PERSUASÃO: SOBREVIVÊNCIA E PODER RELIGIOSO NA ARTE CRISTÃ
Full text linkAncient myths are not dead. Based on this premise the intent of this paper is to delineate the historical paths which legitimized the survival of the myth of the Sibyls in the Christian world in its close association with astrology, as an art form of persuasive power. Paganism has always been an intrinsic element of Christianity, not only symbolically, but also as a direct impact on people and their lives. Some particular moments in history are in this sense noteworthy, from the apologist priests of primitive Christianity to the birth of modern science. The sibyls and astrology, as "outside" witnesses, are a constant presence in Christian world, which is the focus of this paper. The afterlife (Naschleben) of the sibyls throughout history is further affirmed by the writings of the patristic and scholastic theologians, and also evidenced in the work of Albumasar, who associates sibyls, and their representation as power.Os mitos antigos não estão mortos. A partir desta afirmação este trabalho pretende apontar os caminhos históricos que legitimaram a sobrevivência do mito das sibilas no mundo cristão, em sua estreita relação com a astrologia, como forma de poder persuasivo da arte. O paganismo esteve sempre presente no cristianismo, não só como símbolos, mas como efetiva influência essencial sobre os homens e as suas vidas. Alguns momentos históricos em particular são privilegiados neste caminho, desde os padres apologistas do cristianismo primitivo até o nascimento da ciência moderna. Sibilas e astrologia, como testemunhos “de fora” são presença constante nas representações plásticas do mundo cristão, que aqui privilegiamos. A sua sobrevivência ou pós-vida (Naschleben) é ora afirmada também pela legitimação de grandes nomes da patrística e da escolástica, e por meio da influência de Albumasar, teólogo muçulmano que faz o elo entre as sibilas e sua representação como poder
AVANT-GARDE MEXICAN REVOULTIONARY NATIONALISM: UNIVERSALIZATION OR COSMOPOLITANIZATION ? DAVID ALFARO SIQUEIROS’ “THREE CALLS…” AND MANUEL MAPLES ARCE’S ACTUAL NO. 1 (1921)
Full text linkThis essay compares two foundational manifestos of the Mexican 20th century avant-garde, both from 1921: David Alfaro Siqueiros’ “Three calls…” and Manuel Maples Arce’s Actual No. 1. Resulting from the ideological milieu of the Mexican Revolution, these texts contain distinct proposals to think about the place of the nation within an international context, after the successful entry of Mexico to modernity via revolution. In the muralist Siqueiros’ case, to think the Mexican nation implies a process of what he calls ‘universalization’, and which is driven primarily by a classical understanding of the ‘natural order’ and a specific relationship to the past. In the estridentista Maples Arce’s case, his call for a ‘cosmopolitanization’ derives from the notion that modernity is an implacable process, the access to which necessitates no relationship to the past and which rejects the ‘natural order’ in favor of a conception of the modern as urban.This essay compares two foundational manifestos of the Mexican 20th century avant-garde, both from 1921: David Alfaro Siqueiros’ “Three calls…” and Manuel Maples Arce’s Actual No. 1. Resulting from the ideological milieu of the Mexican Revolution, these texts contain distinct proposals to think about the place of the nation within an international context, after the successful entry of Mexico to modernity via revolution. In the muralist Siqueiros’ case, to think the Mexican nation implies a process of what he calls ‘universalization’, and which is driven primarily by a classical understanding of the ‘natural order’ and a specific relationship to the past. In the estridentista Maples Arce’s case, his call for a ‘cosmopolitanization’ derives from the notion that modernity is an implacable process, the access to which necessitates no relationship to the past and which rejects the ‘natural order’ in favor of a conception of the modern as urban
MENS SANA IN CORPORE SANO – OS ESTÁDIOS MONUMENTAIS DE MUSSOLINI, SALAZAR E GETÚLIO VARGAS
Full text linkThis article focuses on three sports centers built in three different parts of the globe during the 1930s: the Mussolini Forum (Rome, 1932), the National Stadium of Jamor (Lisbon, 1944) and the Pacaembu Stadium (São Paulo, 1940). Built in a historic moment of consolidation and performance of several new governments (New States), these sporting arenas demonstrate how the longing for the construction of a “new man” shared by these governments, catapulted the construction of grandiose and monumental sports centers.
This study, made mostly by texts from the serial media (newspapers and magazines), shows that, despite being built in different nations, these stadiums shared composition, discourse and purpose.
Together with these points, one seeks to demonstrate how the studies related to the architecture built in Fascist Italy, Salazarist Portugal and Getulist Brazil can contribute for the understanding of the modern architecture trajectory of the 1930s.Este artigo volta-se a três centros esportivos edificados em três diferentes pontos do globo durante a década de 30, sendo eles : o Foro Mussolini (Roma,1932), o Estádio Nacional do Jamor (Lisboa,1944) e o Estádio do Pacaembu (São Paulo, 1940). Construídos em um momento histórico de consolidação e atuação de vários “Estados Novos”, estas obras esportivas demonstram como o anseio de construção de um “novo homem” compartilhado por estes governos, catapultou a construção de grandiosos e monumentais centros esportivos.
O estudo, feito majoritariamente por meio de textos ligados à mídia seriada (jornais e revistas), evidencia que, apesar de serem edificados em diferentes nações, estes estádios compartilhavam composição, discurso e finalidade.
Juntamente a estes pontos, almeja-se demonstrar como os estudos que relacionam a arquitetura edificada na Itália Fascista, Portugal Salazarista e o Brasil Getulista podem contribuir para a compreensão da trajetória da arquitetura moderna da década de 30
EXPRESSÕES DE PODER: O PALÁCIO DE CRISTAL PORTUENSE NA PRIMEIRA EXPOSIÇÃO COLONIAL PORTUGUESA (1934)
Full text linkSince its inauguration in 1865, the Crystal Palace of Porto has served as the stage for some of the country’s most important events. The First Portuguese Colonial Exhibition, held in that building in 1934 during the Estado Novo regime remains as one of the most notorious. This article aims to analyze the main characteristics of that expo, highlighting the enclosure and the transformations it suffered through ephemeral architectural solutions. The redesign of the palace facade not only mirrors the aesthetic taste of its time but can also serve as the first example of the necessity to readapt the building.
The analysis shown is based on a bibliographic revision and is a result of crossing hemerographic and iconographic sources as a mean to contribute to the study of Porto’s Crystal Palace, a showcase for political and ideological demonstrations in the regime of 1934.O Palácio de Cristal Portuense serviu, desde a sua inauguração em 1865, como palco para alguns dos mais importantes eventos nacionais. Entre estes merece destaque a Primeira Exposição Colonial Portuguesa, enquadrada na ideologia do Estado Novo e realizada no Porto em 1934. O presente artigo procura, assim, traçar as principais linhas desta mostra, sobretudo naquilo que respeita à análise do recinto e das transformações aí implementadas através de soluções arquitetónicas efémeras. A atualização da fachada oitocentista do Palácio, para além de responder ao próprio gosto da época, pode também revelar-se como uma primeira necessidade e intenção de adaptação do edifício.
A análise aqui apresentada parte de uma revisão bibliográfica e de um cruzamento entre fontes hemerográficas e iconográficas, como forma de contribuir para o estudo da história do Palácio de Cristal, escolhido como montra para a demonstração política e ideológica do regime em 1934
EL INTERÉS INTERNACIONAL POR COMBATIR LA DESTRUCCIÓN INTENCIONAL DE PATRIMONIO CULTURAL
Full text linkThe vandalism of the Islamic State in Syria and Iraq, aimed at the deliberate destruction of cultural heritage, has generated a deep concern in the international community in front of a phenomenon that is not new but, on this occasion, has been particularly virulent. This paper examines the six approaches that have been adopted by the international community before this cultural devastation, from that established by the Hague Convention of 1954 to the action of the International Criminal Court, through the measures adopted by the United Nations Security Council.La actitud vandálica del Estado Islámico en Siria e Irak, encaminada a la destrucción deliberada del patrimonio cultural, ha generado una honda preocupación en la comunidad internacional ante un fenómeno que no es nuevo pero que, en esta ocasión, ha sido particularmente virulento. En este trabajo se examinan los seis enfoques en los que se concreta la reacción de la comunidad internacional ante tal devastación cultural, desde el establecido por la Convención de la Haya de 1954 hasta la acción del Tribunal penal internacional, pasando por las medidas adoptadas por el Consejo de Seguridad de las Naciones Unidas
RETRIEVE THE LOST WORKS OF BERNARDINO DA COSTA LEMOS' ANIMALIST PAINTINGS (175?-act.1814)
No full textExistiam lacunas de informação sobre o presumível desaparecimento de 11 quadros “animalistas” de Bernardino da Costa Lemos no trágico incêndio ocorrido em 1978 na Faculdade de Ciências da Universidade de Lisboa. Excluindo o artigo de Júlio Jesus (1928) com descrições écfrasicas-histórico-artísticas de cada uma das telas, cinquenta anos antes delas desaparecerem, Lemos subsiste na generalidade da historiografia como um modesto pintor que floresceu em final de setecentos, discípulo de Joaquim Manuel da Rocha. A localização de documentos e registos imagéticos totalmente desconhecidos da obra “animalista” de Lemos impôs uma abordagem interdisciplinar de História da Arte (micro e cripto-história da arte, iconologia), Literatura (ekphrasis) e Biologia (ecologia e taxonomia). Assim, neste artigo visitamos visualmente as referidas obras mortas, revemos a biografia do “muito hábil” pintor, confirmamos o malogrado destino do conjunto e discutimos sobre a tipologia de programa artístico produzido para o Gabinete de História Natural do mecenas Frei José Mayne.There were knowledge gaps about the presumed disappearance of 11 “animalist” paintings of Bernardino da Costa Lemos in the tragic fire that occurred in 1978 at the Faculty of Sciences, University of Lisbon. Excluding Júlio Jesus (1928) article, with ekphrastic-historical-artistic descriptions of each of the paintings, fifty years before they disappeared, Lemos subsists in the majority of historiography as a modest painter who flourished in the late 18th century, and a disciple of Joaquim Manuel da Rocha. The location of totally unknown imagery records and documents of Lemos's “animalistic” work required an interdisciplinary approach to Art History (micro and crypto-history of art, iconology), Literature (ekphrasis) and Biology (ecology and taxonomy). Therefore, we study these dead works; we review the biography of a “very skilled” painter, confirm the ill-fated destiny of the group and discuss the typology of the artistic program produced for the patron friar José Mayne's Natural History cabinet
CONTRIBUTE TO THE CATALOGUE OF WORKS BY THE SCULPTOR JOSÉ DE ALMEIDA (1708-1770): THE STATUE OF THE VIRGIN OF THE CONFRATERNITY OF HOLY THE ROSARY, MAFRA
Full text linkDo escultor José de Almeida (1708-1770) já nos ocupámos em diversas ocasiões, pelo que não é esta a sede nem se revela pertinente dedicarmo-nos extensamente à sua vida e obra, mas tão-só a abordar aqueles aspectos que se assumem como relevantes para a compreensão e contextualização da peça que aqui se pretende apresentar. Com efeito, tem o presente texto o objectivo único de trazer ao conhecimento uma imagem de Nossa Senhora do Rosário, que na actualidade se conserva na Santa Casa da Misericórdia de Mafra, que permanecia por estudar e cuja autoria pode efectivamente ser aproximada da figura de José de Almeida.I have studied the sculptor José de Almeida (1708-1770) and his works on several occasions, which is why it is neither the place nor the occasion to write extensively about his life and work in this text, but only mention those aspects considered as relevant to the understanding and contextualization of the piece that is intended here. In fact, this text has the sole purpose of bringing to the attention an image of Our Lady of the Rosary, which is now conserved in the Santa Casa da Misericórdia de Mafra, which remained unstudied and which authorship can be associated to the sculptor José de Almeida
MEMORIALIZATION OF WAR BETWEEN CONFLICTS OF INTEREST BEFORE AND AFTER THE ISLAMIC REVOLUTION: PUBLIC ART AND PUBLIC SPACE IN IRAN
Full text linkSince 1800s, numerous wars have impacted the cities of Iran. Regarding the urban artwork in Tehran, the capital of Iran, the following question comes to mind: What approach has the urban artwork adopted to represent the war and its related concepts? Adopting a documentary research approach and investigating the concept of war in different eras, this paper attempts to study the sculptures in urban spaces as documents. Based on the books and historical documents, a total of 192 sculptures, which were built from the Qajar dynasty to 2016 have been examined in this study. During the Qajar dynasty, the governments have used sculptures, especially the ones placed in city squares, to demonstrate their power. After the Constitutional Revolution, figures denoting concepts of justice and freedom became pervasive in the squares up until the end of the Pahlavi dynasty. After the Islamic Revolution, the Iran-Iraq war has been called Sacred Defense and the goal of creating statues has been changed to express revolutionary and ideological concepts. Figurative sculptures and busts have been made as a tribute to the martyrs of the Iran-Iraq war
OCCUPY BIENNALE? SOCIALLY-ENGAGED ART PRACTICE AND ART INSTITUTION
Full text linkThe political phenomenon of Occupy Wall Street obtained the global attention in the fall of 2011 with its encampment in the Zuccotti Park (New York). As the movement grew, there also seemed to be an aesthetic component to it revealed in socially-engaged, participatory practices. Those presuppositions provoked the debate focused on the emerging issue of activist art and on the art’s capability to transmit the aims of political protest. Consequently, curators and art institutions attempted to endorse the Occupy movement, while incorporating it into various art events. This text seeks to explore those issues through the analyses of emerging discourse on socially-engaged practices and its existence within art institution on the example of Berlin Biennale 7