The Efficiency of Air Conditioning Energy Systems in the Iberê Camargo Contemporary Art Museum – Rio Grande Do Sul – Brazil

2019 ◽  
pp. 31-33
Author(s):  
Raul Vasconcelos Bessa
Keyword(s):  
Contemporary Art ◽  
Air Conditioning ◽  
Energy Systems ◽  
Rio Grande ◽  
Art Museum ◽  
Rio Grande Do Sul ◽  
Contemporary Art Museum

scholarly journals Trans Narratives in Museums Collections: Dialogues with Élle de Bernardini and Lyz Parayzo

2021 ◽  
pp. 131-148
Author(s):  
Anna Silva
Keyword(s):  
Contemporary Art ◽  
Rio Grande ◽  
Art Museum ◽  
Narrative Construction ◽  
Museum Collections ◽  
Rio Grande Do Sul ◽  
Sexual Diversity ◽  
Cultural Complex ◽  
The Republic ◽  
Contemporary Art Museum

This essay presents perspectives about the institutionalization of works by trans artists in museum collections. The contribution to this analysis comes from the Brazilian artists Élle de Bernardini (1991) and Lyz Parayzo (1994), who have works collected at the Art Museum of Rio (MAR), Niterói Contemporary Art Museum (MAC), Art Museum of Rio Grande do Sul (MARGS), Contemporary Art Museum of Rio Grande do Sul (MAC-RS), Santander Brasil Colection, Modern Art Museum in Rio de Janeiro (MAM-RJ), National Museum of the Cultural Complex of the Republic – Honestino Guimarães, Museum of Sexual Diversity, Italian Embassy in Brazil and Pinacoteca of the State of São Paulo. The main aim is to understand the process of musealization from the narrative construction of itself of each artist, the connection between those narratives and the agendas about gender and the artists' conditions. As well, the text discusses the presence and absence of the agenda and the (re)exhibitions of the artworks. In this sense, the researcher has done an interview with two artists about trans visibility in museum collections. Keywords: Trans Narratives; Museums Collections; Élle de Bernardini; Lyz Parayzo;

Challenges in using moving images at the MAC/VAL, Vitry-sur-Seine

2009 ◽  
Vol 34 (3) ◽  
pp. 11-15
Author(s):  
Céline Latil
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Moving Images ◽  
Audiovisual Archives ◽  
Contemporary Art Museum

This article describes the documentation centre at the contemporary art museum MAC/VAL in Vitry-sur-Seine in the Val-de-Marne, outside Paris, and in particular its audiovisual collections. It outlines the problems that have to be faced when seeking to make this material – documentaries and artists’ videos, whether purchased or produced in-house, even the museum’s audiovisual archives – available to the centre’s users.

Economic valuation of a contemporary art museum: correction of hypothetical bias using a certainty question

2009 ◽  
Vol 33 (3) ◽  
pp. 185-199 ◽  
Author(s):  
Ana María Bedate ◽  
Luis César Herrero ◽  
José Ángel Sanz
Keyword(s):  
Contemporary Art ◽  
Economic Valuation ◽  
Art Museum ◽  
Hypothetical Bias ◽  
Contemporary Art Museum

scholarly journals Museo y Musa. Referencias y repercusión del proyecto de Molezún realizado en Roma | Museum and Muse. References and consequences of Molezún’s project in Rome

ZARCH ◽  
2016 ◽  
pp. 70
Author(s):  
Marta García Alonso
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Art Museum ◽  
Hispanic American ◽  
National Architecture ◽  
Arte Contemporáneo ◽  
Contemporary Art Museum

En 1953 Ramón Vázquez Molezún recibió el Premio Nacional de Arquitectura con su proyecto Museo de Arte Contemporáneo. Fue su segundo galardón en poco más de dos años, después de haber recibido en 1951 el premio de la I Bienal Hispanoamericana con el proyecto Teatro al Aire Libre Homenaje a Gaudí. Paradójicamente, gracias a estos dos ejercicios de carácter académico realizados durante su estancia como pensionado en la Academia Española de Bellas Artes de Roma, Molezún se convirtió, sin haber construido una sola obra, en una referencia tanto para los arquitectos españoles como para los estudiantes de las escuelas de arquitectura de nuestro país. El propio Museo de Arte Contemporáneo fue en aquella época un proyecto clave en el devenir de su obra y uno de los más influyentes entre sus colegas. Este artículo estudia, en un primer lugar, el contexto de esa propuesta de museo, de esa idea que fue dibujada por Ramón Vázquez Molezún sin intención de ser construida, tratando de desvelar las claves proyectuales de su esencia: a este respecto las alusiones a Gaudí y Wright, pero también a sus viajes por Europa son citas obligadas. Después trata de analizar en qué medida este proyecto, un museo convertido en musa, pudo servir de inspiración para la generación de otros muchos proyectos sí construidos, propios y ajenos.In 1953, Ramón Vázquez Molezún received the National Architecture Prize for his Contemporary Art Museum project. It was his second award in little more than two years, after receiving the First Hispanic-American Biennial Prize for his Open-air theatre; tribute to Gaudi. Paradoxically, thanks to these academic works made during his stay as a pensioner at the Spanish Academy of Fine Arts in Rome, Molezún became, without having built any construction yet, a model for both architects and architecture students of our country. The Contemporary Art Museum was, at the time, a key project in the progression of Molezun’s career, and one of the most influential works among his colleagues. First of all, this article studies the context of this museum, of the concept drawn by Ramón Vázquez Molezún without any intention of building it, trying to uncover the keys of its essence. Gaudi and Wright allusions, as well as his travels around Europe, are mandatory stops. Secondly, the article tries to analyze in what measure this project, a museum made muse, could have been an inspiration for a great number of built projects, both Molezún’s and others.

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