Sonia Lenzi的动态

It's easy to overlook a piece of art when surrounded by many other artworks, especially when it's this small! ?? This red-figure squat oil flask (lekythos) decorated with a swan is one of those pieces. It's these types of pieces where you have to ask yourself, "Why is it so small? Did they really only put oil in this thing? And what's the significance of the swan?" Ask these questions! Engage with the art and start the conversation, maybe you'll get new insight. ???? Attica, Greece; Classical period, ca. 450-400 BCE Ceramic vessel Tampa Museum of Art, Joseph Veach Noble Collection, 1986.082

Ishara Art Foundation presents ‘Fragility and Resilience’, the first comprehensive solo exhibition of Ayesha Sultana in the GCC ‘Fragility and Resilience’, presented by the Ishara Art Foundation, marks Ayesha Sultana’s first comprehensive solo exhibition in the GCC. The show is an exploration of the delicate balance between the vulnerability and strength of our planet in the 21st century. Challenging the conventional binaries that separate concepts of the fragile and the resilient, Sultana proposes that fragility can be a form of strength while encompassing profound vulnerability. This thematic exploration is particularly pertinent in the contemporary world as social, ecological and personal upheavals continually test the limits of sustainability. https://lnkd.in/gijwKXQW

JOSHUA SEARLE MUSEO DEL ORO ROBADO MUSEUM OF STOLEN GOLD THU 13 JUN - SAT 10 AUG DAWN TO MIDNIGHT EXHIBITION (VIEW FROM 37 DAVEY STREET FRONT) CUBE 37, GLASS CUBE GALLERY Image: Joshua Searle, (installation detail) Joshua Searle (Australian/Colombian) examines and unpacks Pre- Columbian artefacts held in museum collections encountered through texts, as a means to further understand his own diasporic history and identity as an Australian-Colombian. From an initial examination of collective cultural identity and societal impact to a more individual personal exploration, this exhibition includes paintings exploring practices of institutional collecting and impact of colonisation. Searle undertakes a process of reclamation of his own identity as part of the colonial diaspora, and of the works themselves. Museo del Oro Robado (Museum of Stolen Gold) is a critique of institutionalised practices of theft. For the artist ‘stolen gold’ refers to both the literal and metaphoric gold taken by colonisation.

I am very much looking forward to a discussion with Salvador Mu?oz Vi?as in Berne for students of the 4 Swiss conservation courses, for the HKB Institute and an online audience. (free) What an honour to discuss the essence of Conservation with the author of such influential works on conservation ethics. What is it that we conserve? What do you think or what would you like to ask?

At NorthernLight, our aim in designing?contemporary exhibitions about historical topics is to connect the topic to the NOW. Traditional historical exhibitions quite often try to mimic the THEN for the visitors.?That is why we recently introduced our vision for the ’The transhistorical space’. This correlates with recent developments in historical studies to link historical events with current and timeless developments, rather than binding them to their epoch only. That leads to a shift from an “As if you were there” to a “there is here” approach for our exhibition design. Several of our recent (and upcoming) projects embody this philosophy. To discover more, read our latest newsletter: https://lnkd.in/eep_sRiU #exhibitiondesign #transhistoricalspace #spacefornewthinking

"Urban space is by nature a fertile ground for artistic expression. This is where is both the critical mass interest for creation - potentiating the offer - and who enjoys it, in a conjugation between the artist / creator and the audience / citizens. Urban space is also a privileged place for community, assuming a sense of a gathered inheritance of knowledges and of tangible and intangible testimonies that require constant molding, adapting and respect between the legacy, the memory and the innovation understood as agents of the dynamic and development of that same territory. At a time when public and urban art are highly expressive and produce a shocking reaction in the public, proliferating in unusual places as well as in others that are properly planned, it also has the potential to mobilize touristic flows and the capacity to generate new destinations, causing new demands and challenges to territorial management which concur with creative freedom and artistic innovation, opening up a privileged field of experimentation on and in public space. This point of contact between the artist [individual or collective] and the community, broadly understood as representative of both the citizen and the entities that manage the territory, is the core motif of the CreArt encounter held in Aveiro in June 2019." Pedro Soares Neves https://lnkd.in/eH2kAsmQ

Through my studies, professional and personal experiences I have arrived to conclusion that due to the vital importance identity has to human nature, I do consider the human as an ‘animal identitarium’, which means that his outstanding attribute and essence is a striving for identity. Humankind, different from other animals which apparently are satisfied with their one nature and identity, is in constant and anxious research and construction of his or her own identity. The ‘animal identitarium’ creates his or her identity through symbols, rituals, myths which became their own marks of identity; they protect it, and can even kill in the name of identity. Therefore, their identitarian symbols, rituals, and myths form an existential revered environment and territory: his interpretative paradigm, her language and grammar, their ‘real’ world, are sacred to them, providing meaning to life, a sense of belonging. Through these cultural creations their identity is acknowledged. ? Ercolani, G., The Maidan Museum: Preserving the Spirit of Maidan - Art, Identity, and the Revolution of Dignity (Stuttgart: Ibidem-Verlag, 2023), 45.

???At the emblematic El Greco Museum (Toledo, Spain), the preservation of art and culture is a priority. Recently, we have completed the installation and commissioning of our humidity control equipment. Humidity is a critical parameter in museums and conservation rooms. Depending on the conditions and situation, the absence of air humidity control can result in: ??Mold formation, which compromises both the structural integrity and aesthetics of the works. ??Deterioration of organic materials, putting priceless historical pieces at risk. ??Crystallization of salts?on antique metal parts and dissected specimens, which can lead to irreversible damage. Thanks to our experience in this type of application and the advanced technology of our equipment, we are able to avoid these problems, significantly improving the conservation of the valuable artifacts and works of art housed in the museum. This ensures that the cultural legacy of the El Greco Museum continues to inspire future generations. #Fisair #HumidityControl #MuseoDelGreco #Humidifier #Dehumidifier

My first Lunch Time Curator talk focus’ on one of our oldest and most enigmatic objects. One that despite its importance has never actually been accessioned into the collections (something i aim to correct). As time has gone on I’ve seen a loss of specialist knowledge and subject specialist curators in museums, which is a very worrying trend. It’s a credit to Heritage Doncaster and the City of Doncaster Council that in a recent restructure it chose to maintain those specialist curatorial roles it still had. Though it is sad that there are collections for which we don’t have curators, notably Natural History. Without subject specialist curators collections risk becoming fossilised and museums risk, over time engaging the public, with out of date and even inaccurate interpretation and information. The Curator Talks and Lunchtime Talks provide a reason for me to undertake important collections research and provide an outlet for it. Long may it continue and grow. The public appetite for these curator led engagements is demonstrable, even though we’re not yet a year into having begun them. Let’s hope the appetite for them grows.

A leaf from a journey's diary - Rethinking museums We understand museums as having a determinate form and recognise them as containers with contents inside. For the historic European museum this is even more so the case. Can’t it be different and, if we can change it, how might it look? The splendidly beautiful porcelain works of Chinese artist Lei Xue would be a good analogy to explain possible or likely futures for the historic European museum. Lei Xue has created a contemporary blend of tradition and modern consumption aesthetics by combining traditional Chinese porcellain techniques with soda-can forms. As tradition is grafted onto everyday consumption objects so can our understanding of the past be shaped by contemporary values. As traditional craftsmanship and materials are shaped into objects inspired by throw-aways from every day life so can the historic European museum reinvent intself in the contemporary. Let’s not forget that museums need artists not just to present them to their publics but to help them reinvent themselves. #innovatingthepast #historicmaterials #contemporarynarratives