Scipione Borghese: Actor protagonist pe pământurile tuscolane

2020 ◽  
Vol 65 (1) ◽  
pp. 5-31
Author(s):  
Margherita Fratarcangeli
Keyword(s):  
The Arts ◽  

"Scipione Borghese: Leading Actor on Tuscan Lands. The contribution focuses on the figure of Cardinal Scipione Borghese (1577-1633) and on the role he playedas patron of the arts in the Colli Albani area, in particular in the city of Frascati (located 20 kilometers east of Rome). The cardinal, nephew of Pope Paul V Borghese and very important personality of the Roman curia, is investigated hereas a promoter of the arts and in particular as the patron of many architectural and landscape arrangements made on the hills of Frascati. The villas purchased by the Borghese family under went enlargement, reconstruction and decoration (such as Villa Taverna, Villa Torlonia, Villa Mondragone and Villa Grazioli). The cardinal and the Villas moved a lot of money and many artistic workers (architects, painters, sculptors, plasterers, masons, etc.) that made Frascati the Petrified testimony of the economic, political and cultural ideas of the Borghese himself. Keywords: Scipione Caffarelli Borghese; Paolo V Borghese; Flaminio Ponzio; Girolamo Rainaldi; Giovanni Vasanzio; Matthäus Greuter; Rome; Frascati; Alban Hills; Monte Porzio Catone; Burghesianum, patronage; Villa "

2016 ◽  
Vol 6 (2) ◽  
pp. 386-389
Author(s):  
Eduardo Oliveira

Evinç Doğan (2016). Image of Istanbul, Impact of ECoC 2010 on The City Image. London: Transnational Press London. [222 pp, RRP: £18.75, ISBN: 978-1-910781-22-7]The idea of discovering or creating a form of uniqueness to differentiate a place from others is clearly attractive. In this regard, and in line with Ashworth (2009), three urban planning instruments are widely used throughout the world as a means of boosting a city’s image: (i) personality association - where places associate themselves with a named individual from history, literature, the arts, politics, entertainment, sport or even mythology; (ii) the visual qualities of buildings and urban design, which include flagship building, signature urban design and even signature districts and (iii) event hallmarking - where places organize events, usually cultural (e.g., European Capital of Culture, henceforth referred to as ECoC) or sporting (e.g., the Olympic Games), in order to obtain worldwide recognition. 


2015 ◽  
Vol 24 (2) ◽  
pp. 3-15
Author(s):  
Judith Laister ◽  
Anna Lipphardt

Over the past decades, ‘participation’ has evolved as a key concept in a multitude of practice fields and discursive arenas, ranging from diverse political and economic contexts, through academic research, education and social work, urban planning and design, to arts institutions and artistic projects. While participation originally is a political concept and practice, it has long set out as a ‘travelling concept’ (Bal 2002). This special issue focuses on its travels between three fields of practice: the city, the arts and qualitative empirical research. Each of these practice fields over the past decades has yielded distinct understandings, objectives and methods in respect to participations, yet they also increasingly intersect, overlap and fuse with each other within specific practice contexts. What is more, many of the individual actors engaging in these initiatives on behalf of the city – from temporary projects to long-term collaborations – are not situated in one practice field only. Along with Jana König and Elisabeth Scheffel we understand them as ‘double agents’ (König and Scheffel 2013: 272–3) or even ‘multiple agents’, with simultaneous entanglements and commitments in more than one practice field.


Author(s):  
Manuel Luís Real ◽  
Paulo Almeida Fernandes

D. Sesnando’s rule over a vast territory, between the rivers Mondego and Douro (1064-1091), entailed a rupture with the previous framework of territorial management, in which a considerable part of this land was nominally bound to Muslim authorities. After the definitive conquest of Coimbra, there was a period of intense change in the landscape and of enhancement of humanized geography, in which the alvazil Sesnando moved more intensely.This article seeks to address the reality of construction and the arts during D. Sesnando’s time. Based on documental sources that mention various types of heritage, the first part of the paper offered an analysis of the territory. It also included an introduction to the city of Coimbra, between the Muslim invasion of 711 and the eve of the 1064 conquest. In addition we present an overview of the performance of the dux Sesnando.


Author(s):  
Olga A. Vasileva ◽  

This article discusses one relatively unknown aspect of the French writer and philosopher, Michel Butor’s works — his literary criticism through the example of “Improvisations sur Rimbaud”. Poet’s works are investigated by Butor unattainable apart from the stages of his life, and the most significant poems — in the context of the epistolary heritage of Rimbaud. Most attention is paid to the chapter “Improvisations”, dedicated to the collection of Rimbaud’s “Illuminations”: to the development of the theme of the city and its transformation, the role of structural rhyme and reprise at the beginning of the line overturning the classical system of versification, the appearance in the texts of Rimbaud mathematical structure. The new poetic language, the innovative artistic techniques of the poet , which are used in the composition of a number of texts in the collection, comprehensively explored by Butor, had an undeniable influence on the direction of the research for new literary forms in the works of Butor: his novel “Degrès”, which uses the numerical structure as a method of total description of reality as well as a number of texts written in the genre of experimental prose in which fragmentation is elevated to an aesthetic principle, the idea of synthesizing the arts is implemented and endless intertextual interactions are created.


The Print Studio is part of Dundee Contemporary Arts (DCA), an organization located in the downtown area near the River Tay on the East Coast of Scotland. The print studio evolved from a number of different art collectives beginning in the 1970s. They were located in the city and provided facilities and equipment for artists to develop their skills. Recognizing that the arts could revitalize a city devastated by a vacuum left by a shift in their industrial base, the city funded the building of a modern arts center with cinemas, a print studio, and large exhibition galleries for world-renowned artists to display their work. Additional funding allowed the print studio at DCA to purchase digital fabrication machinery to investigate the interface of mechanical and digital making processes: in particular, studying how traditional processes can be enhanced with contemporary technology to revitalize and preserve the antique. This chapter explores the Dundee Contemporary Arts Print Studio.


Author(s):  
Clyde E. Fant ◽  
Mitchell G. Reddish

In the Mediterranean world, only Rome rivals Athens as a city famed for its antiquities. Ancient travelers came to marvel at its grand temples and civic buildings, just as tourists do today. Wealthy Romans sent their children to Athens to be educated by its philosophers and gain sophistication in the presence of its culture. Democracy, however faltering its first steps, began in this city, and education and the arts flourished in its environment. Even at the height of the Roman Empire, the Western world’s government may have been Roman but its dominant cultural influence was Greek. Latin never spread abroad as a universal language, but Greek did, in its Koine (common) form. By the 4th century B.C.E. this Attic dialect of Plato and the Athenian orators was already in use in countries around the Mediterranean. The monuments of Athens and the treasures of its National Museum still amaze and delight millions of visitors from every nation who come to see this historic cradle of Western culture. A settlement of some significance already existed at Athens in Mycenaean times (1600–1200 B.C.E.). Toward the end of the Dark Ages (1200–750 B.C.E.) the unification of Attica, a territory surrounding Athens of some 1,000 square miles, was accomplished under the Athenians. The resulting city-state was governed by aristocrats constituted as the Council of the Areopagus, named for the hill below the Athenian Acropolis where they commonly met. But only the nobility—defined as the wealthy male landowners—had any vote in the decisions that influenced affairs in the city, a situation increasingly opposed by the rising merchant class and the peasant farmers. The nobles seemed paralyzed by the mounting social tensions, and a class revolution appeared imminent. In 594 B.C.E. the nobles in desperation turned to Solon, also an aristocrat, whom they named as archon (ruler) of the city with virtual dictatorial powers. Solon, however, refused to rule as dictator of the city, instituting instead a series of sweeping reforms that mollified the lower classes without destroying the aristocracy.


Author(s):  
Hoe Su Fern

This chapter examines the role of the arts and artists in rejuvenating urban spaces in Singapore, where place management ideas are currently being used to rejuvenate parts of the city centre. Coexisting alongside state-driven initiatives are artist-led strategies where local art practitioners and organizations activate latent and/or under-utilized spaces. Through an analysis of policy documents and qualitative ethnographic fieldwork, this study explores the interplay between top-down aspirations and formal place management efforts, and the organic ways artists have activated and engaged with spaces. Ultimately, I argue that there is a need to balance formal governance structures with more support for artists engaging in organic, ground-up initiatives.


2011 ◽  
Vol 54 ◽  
pp. 347-382 ◽  
Author(s):  
Alistair Fair

When it opened in March 1958, the Belgrade Theatre, Coventry, was the first new professional theatre to be constructed in Britain for nearly two decades and the country’s first all-new civic theatre (Figs 1 and 2). Financially supported by Coventry City Council and designed in the City Architect’s office, it included a 910-seat auditorium with associated backstage facilities. Two features of the building were especially innovative, namely its extensive public foyers and the provision of a number of small flats for actors. The theatre, whose name commemorated a major gift of timber to the city of Coventry from the Yugoslav authorities, was regarded as the herald of a new age and indeed marked the beginning of a boom in British theatre construction which lasted until the late 1970s. Yet its architecture has hitherto been little considered by historians of theatre, while accounts of post-war Coventry have instead focused on other topics: the city’s politics; its replanning after severe wartime bombing; and the architecture of its new cathedral, designed by Basil Spence in 1950 and executed amidst international interest as a symbol of the city’s post-war recovery. However, the Belgrade also attracted considerable attention when it opened. The Observer’s drama critic, Kenneth Tynan, was especially effusive, asking ‘in what tranced moment did the City Council decided to spend £220,000 on a bauble as superfluous as a civic playhouse?’ For him, it was ‘one of the great decisions in the history of local government’. This article considers the architectural implications of that ‘great decision’. The main design moves are charted and related to the local context, in which the Belgrade was intended to function as a civic and community focus. In this respect, the Labour Party councillors’ wish to become involved in housing the arts reflected prevailing local and national party philosophy but was possibly amplified by knowledge of eastern European authorities’ involvement in accommodating and subsidizing theatre. In addition, close examination of the Belgrade’s external design, foyers and auditorium illuminates a number of broader debates in the architectural history of the period. The auditorium, for example, reveals something of the extent to which Modern architecture could be informed by precedent. Furthermore, the terms in which the building was received are also significant. Tynan commented: ‘enter most theatres, and you enter the gilded cupidacious past. Enter this one, and you are surrounded by the future’. Although it was perhaps inevitable that the Belgrade was thought to be unlike older theatres, given that there had been a two-decade hiatus in theatre-building, the resulting contrast was nonetheless rather appropriate, allowing the building to connote new ideas whilst also permitting us to read the Belgrade in terms of contemporary debates about the nature of the ‘modern monument’.


Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 19
Author(s):  
Déirdre Kelly

It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.


2016 ◽  
Vol 6 (3) ◽  
pp. 80-83
Author(s):  
Greg Niemeyer

With Brittney Silva’s tragic May 2014 death fresh in everyone’s memory, the city of San Leandro began collaboration efforts between them and University of California, Berkeley to do something to make the city safer for pedestrians. A course was developed at UC Berkeley called Sensing Cityscapes, offered Fall 2015, aiming to collect data about human activities too often ignored. As part of the interdisciplinary UC Berkeley Global Urban Humanities Initiative, the class aimed to harness methods not just from city planning, engineering, and architecture, but from the humanistic disciplines, cognitive science, art, public health, and performance studies, bringing students together from each field. We now are bringing the installation back to the streets of San Leandro with the support of a National Endowment for the Arts (NEA) Our Town grant for a project called San Leandro Lights. Transferring the project from the lab back to the street, we hope that the positive effect for individuals we observed in the lab will remain, and that responsive lighting will create a dynamic culture of attention.


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