GESTALT: Theory and Design in the Age of New Objectivity. Fifteen lectures, training sessions and workshops by Architect Mariano Akerman. Abstract and schedule
GESTALT: Theory and Design in the Age of New Objectivity. Fifteen lectures, training sessions and workshops by Architect Mariano Akerman. Abstract and schedule
First company established to create the concepts and complex project management in the field of art.
With extensive contacts in the international cultural sector, we`re ready to take on any project – from a protracted reorganization of urban history into modern art clusters, until the publication of catalogs of artists.
We believe in the special power of art and therefore egaged in projects which are able to touch the soul and win the hearts of humanity.
The presentation is about installation art history, some famous examples and how it is made.
If you want a copy and some details on how to present this please message me.
First company established to create the concepts and complex project management in the field of art.
With extensive contacts in the international cultural sector, we`re ready to take on any project – from a protracted reorganization of urban history into modern art clusters, until the publication of catalogs of artists.
We believe in the special power of art and therefore egaged in projects which are able to touch the soul and win the hearts of humanity.
The presentation is about installation art history, some famous examples and how it is made.
If you want a copy and some details on how to present this please message me.
The Scientific journal “Norwegian Journal of development of the International Science” is issued 24 times a year and is a scientific publication on topical problems of science.
Castelvecchio Museum (Italian: Museo Civico di Castelvecchio) is a museum in Verona, northern Italy, located in the eponymous medieval castle. Restoration by the architect Carlo Scarpa, between 1959 and 1973, has enhanced the appearance of the building and exhibits. Scarpa's unique architectural style is visible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork.
The museum displays a collection of sculpture, statues, paintings, ancient weapons, ceramics, goldworks, miniatures and some old bells.
The Cultural Gem of Valencia Museum of Fine art.pdfava ricci
he Museum of Fine Arts in Valencia, Spain, is a treasure trove of artistic and cultural heritage. Located in the heart of this vibrant city, the museum stands as a testament to the rich history and creative spirit of Valencia. With its extensive collection of artworks spanning various periods and styles, the museum provides a captivating journey through the world of fine arts.
1. Exhibition: Evarist Navarro. La construcción de la memoria
(The Construction of Memory)
Institut Valencià d’Art Modern (IVAM)
30 November 2011- 15 January 2012
Organised by: Institut Valencia d’Art Modern (IVAM)
Sponsored by:
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The exhibition entitled La construcción de la memoria (The Construction of
Memory), which presents the work of Evarist Navarro at the IVAM, comprises a
selection of his research in the field of sculpture and installations, in which clay,
both raw and in its fired or ceramic version, is the predominant material. Several
small-format series arranged according to motifs and emblematic forms are
placed around three site-specific monumental installations. The series are
called Arquitecturas del cuerpo (Architectures of the Body), Arqueologías
(Archaeologies) or De tripas corazón (Making the Best of Things), and in them
he explores the links between past and present and their representation as solid
objects. These works are accompanied by 25 drawings on acetate and 30
watercolours, in which he portrays the sculptural and spatial essays and
reflections of his sculpture in two dimensions. A catalogue has been brought out
for the exhibition with reproductions of all the works displayed and texts by José
Francisco Yvars and Consuelo Císcar.
Evarist Navarro (Castelló de Rugat, 1959) graduated in Fine Arts at the
University of Barcelona, where he had Santos Torroella and Hernandez Pijoan,
among others, as teachers. When he returned to Valencia, he got a PhD in Fine
Arts at the Polytechnic University of Valencia, where he is now a professor in
the department of sculpture. As a creator, he forms part of the generation of
artists whose work occupied a place at the forefront of the sculpture renovation
period in Spain in the nineteen eighties. At this initial period of his artistic career,
his research covered such diverse materials as industrial plastic or cast iron. In
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2. the nineties his production changed radically when he gave up the trends of his
generation and embarked upon a more personal research, in which he chose
clay as the raw material and support for his works.
Clay, in the rigid ceramic version, or as a flexible, plastic mass that solidifies
and hardens with the passage of time, allows him to achieve a more pliant
arrangement of space. It is the typical characteristics of this material that
determine the flexibility and plasticity and also the density, weight and
equilibrium of the piece, and provide an almost craftsmanlike tactile
appearance, a far cry from the impersonality of serialised industrially-produced
works, and shape their construction in the exhibition space. The choice of clay
as his material connects his work with the ancestral clay and ceramic trade and
his own family tradition.
Evarist Navarro endows his works with an architectonic layout and structure,
with which he attempts to configure the abstract representation of everyday
spaces. As we can gather from the titles of his series of works – Palacios de la
memoria (Palaces of Memory), Estaciones balsámicas (Balsamic Seasons)
Arquitecturas del cuerpo – evoke spatial structures in which clay – and also
metal – adopts an essential monumentality that evinces primitive constructions:
cabins, shelters or ruins.
We also find this architectonic layout in the small-format pieces, representing
towers, fountains, walls… Barely outlined, they form the fragments of a
discourse that arises, according to the author, from a “need for introspection
and to turn thought into an object”.
His work has been exhibited in countries like the United States, Germany,
Denmark, Holland and in different Spanish galleries and museums. Among the
awards and grants he has been given for his work, it is worth mentioning
especially the following: Salón de Primavera sculpture prize, Valencia, 1981;
Ciutat de Gandia prize, 1983; Bienal d'Ontinyent prize, 1983; Muestra de Arte
Joven prize, Instituto de la Juventud, Madrid, 1986; Bienal de Mislata sculpture
award in 1987; Banesto grant for artistic creation, Madrid, 1991; IV Certamen
d'escultura a l'aire lliure prize, Borriana, 1993; a grant for the training of
professionals in cultural arts and industries from the Ministry of Culture, Madrid,
1994; the “Art Institute of Chicago” grant for university research from the
Generalitat Valenciana, 1996; the 11th "Alfons Roig" grant from the Diputación
de Valencia, 1996.
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